








m^ 





THE CLEVELAND MUSEUM OF ART 



Xi. 



Of an illustrated edition of 
this catalogue, limited to 
one thousand copies, this is 



No._2S5_ 

Presented to 



^r^-jUA.()^^Jd^'^yt^^ 



THE 

CLEVELAND MUSEUM 

OF ART 

CATALOGUE 

OF 

THE INAUGURAL EXHIBITION 

JUNE 6-SEPTEMBER 20 
I916 



CLEVELAND 

THE CLEVELAND MUSEUM OF ART 

1916 



t^jVJ^t 



COPYRIGHT, 19 1 6, BY THE CLEVELAND 
MUSEUM OF ART 



Qlft 
Dr. H-N. Fowler 

May 16 1934 






The Roger fVilliams Tress, Cleleeland 



CONTENTS 



Officers, Trustees, Council and Staff 

History 

Introduction 

Ascriptions, Credits, Lenders 

Rotunda Classic Art i 

Gallery i Colonial Art 23 

Gallery 2 Gothic Art 45 

Gallery 3 Renaissance Art ^2 

Gallery 4 Holden Collection of Italian Paintings 71 

Gallery 5 Painters. Dutch and Spanish 107 

Gallery 6 Painters. French 113 

Gallery 7 Painters. EngHsh 119 

Gallery 8 Painters. American. XIX Century 125 

Gallery 9 Painters. American. Contemporary 131 

Gallery 10 Freer Collection. Lent by the Smithson- 
ian Institution 139 

Gallery i i W. S. and J. T. Spaulding Collection 

of Japanese Prints 143 

Gallery 12 The Art of the Nearer East 147 

Gallery 13 Chinese Art 165 

Gallery 14 Japanese Art 191 

Gallery 15 Ancient Egyptian Art 199 

Court of Tapestries and Armor 227 

Garden Court 239 

Illustrations, commencing 243 



OFFICERS, TRUSTEES, COUNCIL 

AND STAFF OF THE 
CLEVELAND MUSEUM OF ART 



OFFICERS 

President, William B. Sanders 

Vice-Presidents, J. H. Wade, Charles W. Bingham 

Treasurer, Charles L. Murfey Secretary, Hermon A. Kelley 

TRUSTEES 
Charles W. Bingham John H. Lowman William B. Sanders 

Mariette Huntington Samuel Mather John L. Severance 

Hermon A. KeUey Charles L. Murfey J. H. Wade 

Ralph King D. Z. Norton Geo. H. Worthington 

EXECUTIVE COMMITTEE 
William B. Sanders J. H. Wade Charles W. Bingham 

Hermon A. KeUey 
ACCESSIONS COMMITTEE 
The President, ex-officio The Director, ex-officio 
Howard P. Eells Samuel Mather D. Z. Norton 

Ralph King William G. Mather J. H. Wade 

MEMBERSHIP COMMITTEE 
Homer H. Johnson Hermon A. Kelley Amos B. McNairy 

ADVISORY COUNCIL 
The President of Western Reserve University 
The President of Case School of Applied Science 
Charles F. Brush Myron T. Herrick William G. Mather 

E. S. Burke, Jr. Guerdon S. Holden Earl W. Oglebay 

H. G. Dalton John H. Hord Kenyon V. Painter 

Howard P. Eells William R. Huntington James Parmelee 

Paul L. Feiss Homer H. Johnson Ambrose Swasey 

Charles L. Freer Edward A. Merritt W. S. Tyler 

Leonard C. Hanna Amos B. McNairy Worcester R. Warner 

MUSEUM STAFF 

DIRECTOR CURATOR 

Frederic Allen Whiting J. Arthur MacLean 

ASSISTANT TO THE DIRECTOR IN CHARGE OF FIELD WORK 

Olive Cook Whiting Langdon Warner 

IN CHARGE OF EDUCATIONAL WORK SUPERINTENDENT OF BUILDING 

Emily G. Gibson James F. McCabe 

REGISTRAR AND ASSISTANT SECRETARY 

Frank J. Pool 




JOHN Hl'NTlNGTON 



HISTORY OF THE CLEVELAND 
MUSEUM OF ART 



THE John Huntington Art & Polytechnic Trust is an unin- 
corporated Board of Trustees, created by the will of the 
late John Huntington "for the purpose of establishing and 
maintaining in the City of Cleveland, a gallery and museum of art 
for the promotion and cultivation of art in said City." 

The Horace Kelley Art Foundation is a corporation under the 
laws of Ohio, formed originally in 1900 under the name of The 
Cleveland Museum of Art, pursuant to the directions of the will 
of the late Horace Kelley, for the purpose of "promoting the fine 
arts", and to this end, of building and carrying on, with the fund 
provided under Mr. Kelley's will and with the assistance of such 
other donations as may accrue to it, a Museum of Art and an in- 
stitution for the promotion of art. 

Owing to the fact that neither Mr. Huntington nor Mr. Kelley 
knew of the gift of the other, the funds provided for art purposes 
under their respective wills were left to wholly independent sets of 
trustees under conditions which made their legal amalgamation im- 
possible. For many years, legal difficulties seemed to present an 
insuperable obstacle even to a working combination between the 
two trusts. At length, however, an agreement was reached between 
the John Huntington Art & Polytechnic Trust and The Horace 
Kelley Art Foundation whereby a single building was to be erected 
by the two trusts, and while the parts of this building were to be 
susceptible of separate legal control, the outward result, so far as 
the public is concerned, would be a single institution. 

As a part of this plan, the corporation which had been formed 
by the Kelley trust under the name of "The Cleveland Museum of 
Art" relinquished this name and took the name of "The Horace 
Kelley Art Foundation". A new corporation was then organized 
under the name of "The Cleveland Museum of Art" for the pur- 
pose of administering the Museum which was to be erected by the 
Huntington and Kelley trusts. The Articles of Incorporation of the 
new "The Cleveland Museum of Art" embraced purposes of a 
very broad nature, empowering it to build and maintain an Art 
Museum, to receive gifts and bequests of art objects, to receive, 
hold and administer funds and trusts for art purposes, and to carry 
on educational work. 



While the John Huntington Art & Polytechnic Trust and The 
Horace Kelley Art Foundation will continue to appropriate funds 
from their respective endowments for the support and maintenance 
of the Museum, the administration of these funds will be in the 
hands of The Cleveland Museum of Art. With the gifts to the 
latter institution which have already been made and which are 
confidently expected in the future The Cleveland Museum of Art 
will doubtless hold at no distant date a large endowment of its own 
independently of the trusts which originally created it. 

In addition to the funds provided by Mr. Huntington and Mr. 
Kelley, a bequest for similar purposes was made by the late Hin- 
man B. Hurlbut, and it was the original intention of the Trustees 
of the three estates to co-operate in the erection of a tripartite build- 
ing. With this purpose in view a Building Committee was formed, 
as early as 1905, of which the late Liberty E. Holden was Chair- 
man, and plans were prepared. Upon the death of Mrs. Hurlbut, 
however, it was discovered that the Hurlbut Estate would not be 
able to provide funds sufficient to enable its Trustees to participate 
in the construction of the Museum building. It, therefore, became 
necessary to abandon the plans for a tripartite Museum, and to 
formulate new plans which could be carried out with the resources 
of the Huntington and Kelley Trusts; these were appropriated 
to the work in the proportions of seven-tenths and three-tenths 
respectively. 

The second Building Committee consisting of Charles W. 
Bingham, William B. Sanders, J. H. Wade, George H.Worthington 
and Hermon A. Kelley, was thereupon formed. New plans having 
been completed, work was commenced on the present building, on 
a site in Wade Park, presented by Mr. J. H. Wade in May, 19 13. 
The building was formally turned over to the Trustees of The 
Cleveland Museum of Art on June 6, 1916. 

The Cleveland Museum of Art was formally dedicated to the 
great work it is to accomplish in the world, on Tuesday, June 6, 19 16. 

At four o'clock on the afternoon of that day the members and 
distinguished guests from other cities gathered at the invitation of 
the President and Trustees in the Lecture Hall of the Museum, 
where they were addressed by the Hon. William B. Sanders, Presi- 
dent, who announced the completion of the building and its formal 
opening as a Museum of Art. After briefly reviewing the origins 
and progress of the Institution and its hopes and intentions for the 
future, the President introduced Mr. Charles L. Hutchinson, Presi- 
dent of the Art Institute of Chicago who brought the greetings and 
congratulations of that city to the citizens of Cleveland. 




HORACE KULLEV 



Judge Sanders then announced the more important of the 
numerous gifts and benefactions with which the new Museum has 
been endowed: 

Mrs. L. E. Holden's gift of her memorable collection of 
paintings. 

Mrs. Dudley P. Allen's gift of the Dido and JEnea.s series of 
eight tapestries from the Barberini Palace. 

Mr. Worcester R. Warner's gift of funds to establish a col- 
lection of Oriental art to bear his name. 

Mr. and Mrs. John L. Severance's gift of a remarkable collec- 
tion of armor. 

Mr. and Mrs. J. H. Wade's gift of lace, textiles, jewelry, fans, 
snuff boxes, vinaigrettes, etc., the result of years of discriminating 
collecting. 

Mr. and Mrs. Ralph King's gift of objects of Oriental art. 

Mrs. John Huntington's contribution of the notable group of 
marble garden ornaments from Boscoreale. 

Mr. David Z. Norton's gift of a collection of fifty-four Japanese 
inro and netsuke. 

And many other collections. He also mentioned the Oriental 
Expedition Fund, which by enabling the Cleveland Museum of 
Art to send an expedition into the field, at once places it in the 
front rank of such institutions. 

He then presented successively to the audience Mr. John R. Van 
Derlip, President of the Minneapolis Institute of Arts; Mr. Henry 
W. Kent, Secretary of The Metropolitan Museum of Art, of New 
York; Mr. Evans Woollen, President of The John Herron Art 
Institute of Indianapolis; Mr. Charles B. Sears, President of The 
Albright Art Gallery of Buffalo, all of whom felicitously showered 
blessings upon the newest addition to the museums of the country. 

The proceedings terminated with a rising vote of congratu- 
lation to the Director, F. Allen Whiting, on the achievement of the 
work, which he acknowledged briefly. 

In the evening, from eight-thirty until eleven o'clock, a re- 
ception was held in the galleries and was largely attended. The 
guests of the Museum were received by the Director and theTrustees 
and their wives, in the Court of Tapestries and Armor. 

At nine o'clock on the morning of Wednesday, June 7th, the 
building and its contents were thrown open to the general public. 



THE JOHN HUNTIKGTON ART AND POLYTECHNIC TRUST 
Charles W. Birgham Samuel Mather William B. Sanders 

Mrs. John Huntington William G. Mather J. H. Wade 

J. H. Lowman Charles L. Murfey Geo. H. Worthington 



THE HORACE KELLEY ART FOUNDATION 
Charles W. Bingham A. B. McNairy William B. Sanders 

Hermon A. Kelley Samuel Mather J. H. Wade 

J. H. Lowman Charles L. Murfey Geo. H. Worthington 

D. Z. Norton 



BUILDING COMMITTEE 

Charles W. Bingham, Chairman 

Hermon A. Kelley William B. Sanders J. H. Wade 

George H. Worthington 

COMMITTEE ON LIGHTING 

Edward P. Hyde, Chairman 
W. W. Batson E. J. Edwards M. Luckiesh J. A. MacLean 

S. E. Doane W. Harrison W. R. McCormack F. A. Whiting 

The Building Committee appointed the following to carry out the work: 

ARCHITECTS 
Hubbell & Benes, Cleveland 

ENGINEERS 
Hollis French and Allen Hubbard, Boston 

GENERAL CONTRACTORS 

Crowell-LundofF-Little Company, Cleveland 

OWNERS' SUPERINTENDENT 
Victor E. Thebaud 

CONTRACTORS' SUPERINTENDENT 
H. F. Gilman 

SECRETARY OF THE BUILDING COMMITTEE 
F. Allen Whiting 

Acknowledgement for services rendered are also due to the late Liberty E. Holden, 
former Chairman of the Building Committee, Henry W. Kent, New York, former 
Secretary of the Building Committee; the late Edmund B. Wheelwright, Boston, 
Consulting Architect; and many others. 



INTRODUCTION 



THIS Exhibition is brought together to celebrate as adequate- 
ly as possible an event to which the people of Cleveland 
have been looking forward for about a decade. It was a 
notable indication of stirrings already at work in the community 
when John Huntington and Horace Kelley and Hinman B. Hurl- 
but each provided by will for the establishment of a Museum of 
Art in Cleveland. 

The story of the difficulties encountered in working out plans 
for a combined Museum need not be gone into here. Tribute 
should however be paid to the foresight and courage of the men 
who, acting as Trustees under the three wills, and despite much 
unpleasant criticism, steadfastly deferred building until the legal 
complications, which made the erection of a joint building seem 
for some time impossible, were overcome, and until the funds avail- 
able could accumulate sufficiently to insure the erection of a build- 
ing quite adequate for its purpose and capable of housing the far- 
reaching Museum and educational activities which the imagination 
of the donors had conceived. 

The gift of a beautiful lot in Wade Park by Mr. and Mrs. J. 
H. Wade solved most satisfactorily the question of location. The 
appointment of a local firm of architects, Messrs. Hubbell and Benes 
to prepare plans in consultation with the late Edmund B. Wheel- 
wright of Boston proved but the beginning of years of study and 
planning which have culminated in the beautiful building which is 
now available for the benefit and pleasure of the public. 

The Building contract was let to the Crowell-Lundoff-Little 
Company on May 11, 1913, work started immediately, and has 
progressed steadily despite delays caused by the unusual conditions 
incident to the war. 

The Building Committee was also fortunate in the cooperation 
of a committee of lighting experts, under the Chairmanship of 
Dr. Edward P. Hyde, Director of the Nela Park Laboratory of 
the National Lamp Works, which gave serious study to the problem 
of lighting the exhibition floor of the building. After the full Com- 
mittee had decided on the general principles of the installation 
the actual work was carried out by a sub-committee consisting of 



Messrs. Evan J. Edwards, Ward Harrison and M. Lukeish, who 
did the larger part of the work and whose recommendations were 
submitted to the full committee for approval. 

It is a source of satisfaction that the building has been designed 
and constructed by Cleveland men, and it is believed that the com- 
munity has every reason to be proud of the result. 

A notable fact connected with the opening of the Museum is 
the splendid support which Cleveland art lovers are bestowing in 
advance of the opening, welcome evidence of the keen interest which 
is taken in the new Museum and speaking well for its permanent 
success and usefulness. 

Attention is called to the fact that many of the objects shown 
are for sale and were secured in the hope that friends might be in- 
terested to acquire them as gifts to the Museum. 

It should be stated, also, that the Trustees have, except in a 
few unusual cases, borrowed nothing from the rich collections owned 
in Cleveland, it having seemed wiser to defer the opportunity to 
show local treasures until a later date. 



ASCRIPTIONS 



In the case of works of art lent for the Inaugural Exhibition 
the ascriptions, both of date and authorship, furnished by the 
owners have been adopted in this catalogue. 




WKST KND 



CREDITS 



THE Cleveland Museum of Art is especially indebted to Dr. 
Bashford Dean for his services in connection with the installa- 
tion of the collection of Armor, as without his co-operation it 
would have been impossible to have the room in readiness for the 
opening. 

Special thanks are also due to Mr. Hollis French for securing 
the important collection of early American silverware and prepar- 
ing the descriptions and the introduction to the Silver section. 

Mr. Francis C. Jones gave invaluable assistance in connection 
with the exhibition of Paintings by Contemporary American Artists. 

In addition to those who have lent the many splendid objects 
of art which so greatly add to the importance of the exhibit, the 
Museum is indebted to the officials connected with other Museums 
who have given freely invaluable assistance, which has enhanced 
the success of the Inaugural Exhibition. 

Mr. M. H. Horvath has contributed his expert advice and assist- 
ance in the selection and securing of plants for the Garden Court, 
for which purpose plants have been given by Mrs. Harvey Cushing 
of Brookline, Massachusetts, Mr. John L. Severance and others, 
and Mr. Kenyon V. Painter has contributed the birds and cages. 

The catalogue has been prepared under the general direction 
of Mr. Edward Hamilton Bell who contributed the sectional intro- 
ductions and the descriptions with the following exceptions: 

Mr. Hollis French prepared the introduction and the descrip- 
tions for the Colonial Silver section; Miss Stella Rubinstein was 
employed to prepare the catalogue of the Holden collection, in 
which she had the benefit of Mr. Henry W. Kent's criticism; and 
Dr. Bashford Dean contributed the notes on the Armor Collection. 

The Director takes especial pleasure in expressing, in behalf 
of the Trustees, the heartiest appreciation of the splendid spirit 
with which the staff of the Museum, both the regular employees 
and those temporarily engaged for extra work, have applied them- 
selves to a big task, with results which are manifest. 

To the following the Museum is under special obligations for 
loans of the important objects embracing a large part of the exhibit: 



LENDERS 



Ainslie, Mr. George H., New York. 

Bahr, Mr. A. W., New York. 

Bevan, Mrs., England. 

Blair, Mrs. Chauncey J., Chicago. 

Blaney, Mr. Dwight, Boston. 

Brooklyn Museum, The, Brooklyn. 

Canessa, Sig. A., New York. 

City Art Museum of St. Louis, The. 

Coolidge, Mr. Baldwin, Boston. 

Coolidge, Mr. J. Templeman, Boston. 

Copley Gallery, The, Boston. 

Corcoran Gallery of Art, The, Washington. 

Creelman, Mrs. James, New York. 

Daguerre, M. Henry, Paris. 

David Gallery, The, New York. 

Dearth, Mr. Henry Golden, New York. 

de Forest, Mr. Lockwood, Santa Barbara. 

Dreicer, Mr. Michael, New York. 

Duveen Brothers, Messrs., New York. 

Ehrich Galleries, The, New York. 

Evans, Mrs. Robert Dawson, Boston. 

Faust, Mr. Edward A., St. Louis. 

Fenollosa, Mrs. E. F., Cambridge. 

Freer, Mr. Charles L., Detroit. 

French, Mr. Hollis, Boston. 

French, Messrs. P. W. and Company, New York. 

Gilder, Miss Francesca, New York. 

Goode, Mrs. M. Cameron, New York. 

Gorham Company, The, New York. 

Hackley Gallery of Fine Arts, The, Muskegon. 

Herrick, Mrs. Myron T., Cleveland. 

Hodgkins, Mr. E., New York. 



LENDERS 

Holland Galleries, The, New York. 

Huidekoper, Mr. Prescott, Romney, West Virginia. 

Hutchinson, Mr. Charles L., Chicago. 

John Herron Art Institute, The, Indianapolis. 

Kelekian, Mr. Dikran G., New York. 

Kennedy, Mr. E. G., New York. 

Kevorkian, Mr. H., New York. 

Kleinberger Galleries, The F., New York. 

Knoedler, M., and Company, New York. 

Kuroda, Mr. Takuma, Tokyo. 

Lewis and Simmons, Messrs., New York. 

Libbey, Mr. Edward Drummond, Toledo. 

Lincoln, Mrs. Roland C, Forest Hills, Massachusetts. 

Logan, Mr. Frank G., Chicago. 

Long, Mr. Breckenridge, St. Louis. 

Loo, Mr. Ching Tai, New York. 

Macbeth, Mr. William, New York. 

McGurk, Mr. Jonce I., New York. 

Mallon, M. Paul, Paris. 

Millet, Mrs. Frank D., New York. 

Moore, Mr. Frederick, New York. 

Painter, Mr. Kenyon V., Cleveland. 

Palmer, Mr. George S., New London. 

Parker, Mrs. Orrel A., New York. 

Pedersen, Prof. Frederick M., New York. 

Pell, Mrs. Stephen, New York. 

Peters, Mr. Samuel T., New York. 

Reuling, Mrs. George, Baltimore. 

Reinhart and Son, Messrs. H., New York. 

Rogers, Miss A. P., Boston. 

Rosenthal, Mr. Albert, Philadelphia. 

St. John, Miss Agnes, Boston. 

Schultze, Mr. Paul, Chicago. 

Schweiger, Mr. Imre, London. 

Sears, Miss Mary Crease, Boston. 



LENDERS 

Secor, Mr. J. K., Toledo. 
Severance, Mr. John L., Cleveland. 
Smithsonian Institution, The, Washington. 
Snedecor and Company, New York. 
Stambaugh, Mr. H. H., Youngstown, Ohio. 
Spaulding, Mr. W. S., Boston. 
Spaulding, Mr. J. T., Boston. 
Tarkington, Mr. Booth, Indianapolis. 
Thaw, Mrs. Benjamin, New York. 
Tudor, Mrs. Frederic, Boston. 
Van Derlip, Mrs. John R., Minneapolis. 
Vose, Messrs. R. C. and N. M., Boston. 
Warner, Mr. Joseph B., Boston. 
Warner, Mr. Langdon, Boston. 
Wetzel, Mr. Hervey E., Boston. 
Whitin, Mrs. G. M., Whitinsville, Massachusetts. 
Whittemore, Mr. Harris, Naugatuck, Connecticut. 
Winthrop, Mr. Grenville L., New York. 
Worcester Art Museum, The, Worcester. 
Yamanaka and Company, Messrs., New York 
and Boston. 

Frederic Allen Whiting, Director 




ROTL'NDA LOOKING INTO GALLILRV 1 

BOSCOKtALh MAKBLtb 1\ Fo K H; KO LM) 



ROTUNDA— CLASSIC ART 



SINCE the brilliant discoveries in the Island of Crete by Sir 
Arthur Evans and his fellow explorers, we have had to revise 
our theories as to the origins of Greek art. 

The work of the earliest days is now divided into the /Egean 
Period, from about 3000 to 2000 B.C., and the Minoan, from about 
2000 to 1000 B.C., (this is the art of the civilization discovered in 
Crete); the Mycenaean Period, from about 1500 to iioo B.C., 
first made known by the excavations of Schlieman, seems to have 
been the decadence of the Minoan. 

This civilization, which is that recorded in the Homeric 
Epics, was obliterated by the Dorian invasion of warlike tribes from 
the mountainous regions to the north of Greece, in about iioo 
B.C. Refugees from this catastrophe fled to the Greek islands, 
and to the coasts of Asia Minor and Syria, where they must have 
found lingering offshoots of the Minoan tradition, in whose com- 
pany they kept alight, though smoldering, the spark which was to 
produce Greek art. 

During the dark ages which succeeded various oriental influ- 
ences made themselves felt in these communities, and can be rec- 
ognized in the pottery, to which, in the comparative dearth of 
sculpture, we have to turn for light to guide us through the gloom. 

The revival of Greek art apparently took place in the Seventh 
century B.C. though the earliest known purely Greek statue, about 
620 B.C., is more primitive than the earliest Egyptian statues, 
which it somewhat resembles. 

By the middle of the Sixth century B.C., Archaic Greek art 
had shaken off these trammels and was awake and alive. The 
phrase is used advisedly, as vitality is the dominant characteristic 
even of its prehistoric forbears. It is distinguished above all arts 
for the representation of physical life, from the first, and as the 
skill of its practitioners developed, of spiritual life. 

No event in the history of art, perhaps in the history of hu- 
manity, presents such an astounding phenomenon as the rapid rise 
to perfection of Greek sculpture. In about 550 B.C., though 
awake and alive, it was still archaic to a very marked degree, and 
by 435 the most consummate triumph in this field, if not in all 
art, was achieved and the Parthenon dedicated. 



THE CLEVELAND MUSEUM 

All we know of the date of the lovely archaic Orantes of the 
Acropolis at Athens, is that they must be earlier than the destruc- 
tion of the temples on that citadel by the Persians in 480 B.C. 
Their similarity to the caryatids of the Treasury of the Cnidians 
at Delphi, dedicated about 530, gives us reason to think that they 
may be as early as this date, but surely not earlier. 

The i^iginetan Pediments, still archaic, belong to the decade 
between 480 and 470. Those of the temple of Zeus at Olympia, hardly 
archaic now, but still stiff and formal, to about the year 460, in which 
year Pericles became leader in Athens, shortly before the Parthe- 
non was begun. The Nike of Paonios celebrates a victory won in 
454; and then came the Parthenon sculpture. 

In the Fourth century B.C. the change in Greek spirit brought 
about a corresponding modification in the arts. This has been 
well defined by Salomon Reinach who calls the work of the great 
Fifth century "serene," and that of the Fourth "emotional." 
This perfectly describes the spirit of Praxiteles, born about 380, as 
does the epithet "passionate" applied by him to the work of Scopas. 

Another change is to be felt in the work of the sculptors of the 
time of Alexander the Great, 356-323 B.C., and their successors 
at Rhodes and Pergamos. Their forte lay in the expression of an- 
guish. The sculptors of the Alexandrian school developed the art 
of portraiture, and carried realism as far as the classic spirit would 
permit. This period, from the time of Alexander to the subjection 
of Greece by the Roman conquest, about the beginning of the 
Christian era, is known as the Hellenistic. 

The Romans transported to Italy not merely all the removable 
works of art but the Greek artists themselves, and classic art lin- 
gered on in the Empire, with many brilliant flashes of genius, until 
Rome, too, fell, and the capital of the world was transferred to 
Byzantium. 

The classic painting of the great period has entirely disappear- 
ed, and what remains to us, admirable as much of it is, is of slight 
importance and late date. The famous painted vases show us what 
consummate draughtsmen were the Greek painters, but we have 
very little means of judging their power as colorists. 

Painted pottery, an art in which the Greeks always excelled, 
is known to us, of all periods, from the Late Minoan times, about 
1600 B.C., in almost unbroken sequence, to about 280 B.C., when 
the manufacture of this type of vase gave place to that decorated 
with reliefs and made in moulds. 




ROTUNDA LOURING INTO COURT OF TAPtSTRIES AND ARMOR 



CLASSIC ART 

About 750 B.C. the type of vase known as Corinthian ap- 
peared, with figures and animals arranged in frieze-like bands, in 
brown, white, black and violet on a light buff ground. The vases 
with black figures painted on a red ground, were made from about 
600 to 500 B.C., to be displaced for about a century following by 
those with red figures on a black ground. These two kinds of vases 
were made in Athens during these two hundred years, even those 
found in Italy and therefore called Etruscan. 

After this time vases were made in southern Italy, but the 
painted vases ceased to be made, even there, after about 280 B.C. 

Greek sculptors worked in terra-cotta, as well as in marble 
and bronze. The famous Tanagra Figurines were made in the 
Fourth century, and those found at Myrina, in Asia Minor, in 
the Hellenistic period, but they were made elsewhere in the Greek 
world. 

The coins of the Greek communities are among the most beau- 
tiful of classic works of art. The finest were produced in Sicily in 
the second half of the Fifth century. 

One of the oldest of the finer arts is engraving on stones and 
gems; intaglios exist of nearly every period of art, and they have 
thrown great light upon the study of Greek sculpture, the highest 
triumphs of which they all but equal. Classic jewelry and metal 
work is of the same splendid quality. 



PERIODS OF CLASSIC ART 

^gean Period About 

Minoan Period 

Mycenaean Period 

Dorian Invasion 

Archaic Period 

Transitional Period 

Great Age I j^g;;^;;^^ 

Hellenistic Period 

Greco-Roman Period 

Rome ceased to be the capital of the Empire 



3000 B.C. 

2000 
1500 
1 100 

625 

480 

450 

400 

350 

146 

330 A.D. 



THE CLEVELAND MUSEUM 

SIX PIECES OF GARDEN SCULPTURE. 

Marble. 

1 Fountain Basin borne by a caryatid of a laughing satyr. 

2 Four terms each topped by a double-headed Bacchus. 

3 Table with hippogriff legs; in the centre of each is a bas- 

relief of fighting goats. 

From the peristyle of the villa of Rectina, wife of Cassius 

Bassus, the lyric poet and friend of Pliny. 

Greco-Roman. I Century A.D. 

Gift of Mrs. John Huntington. 

4 FRAGMENT OF A CIRCULAR ALTAR OR A WELL 
CURB. 

Marble. In bas-relief Hermes and Pallas Athena, facing 
left. Found in Corfu. From the Nani Collection in Venice. 

Hellenistic. III-I Century B.C. 

The John Huntington Collection. 

5 FRAGMENT OF A BAS-RELIEF. 

Stone. Head of an Assyrian King, perhaps Ashur-bani-pal, 
668-626 B.C. From Nineveh. 

Assyrian. About VIII Century B.C. 

Lent by Mrs. Chauncey J. Blair. 

6 FIGURINE. 

Terra-cotta. Winged figure carrying a Kithara. 

Myrina in Asia Minor. Hellenistic Period. III-I Cen- 
tury B.C. 
Gift of Mr. and Mrs. J. H. Wade. 

7 FIGURINE. 

Terra-cotta. Flying Eros, with a comic mask. 
Myrina. Hellenistic Period. III-I Century B.C. 
Gift of Mr. and Mrs. J. H. Wade. 

8 FIGURINE. 

Terra-cotta. Flying Eros, with a torch in each hand. 
Myrina. Hellenistic Period. III-I Century B.C. 
Gift of Mr. and Mrs. J. H. Wade. 

9 FIGURINE. 

Terra-cotta. Flying Eros, with a golden fruit in each hand. 
Myrina. Hellenistic Period. III-I Century B.C. 
Gift of Mr. and Mrs. J. H. Wade. 



CLASSIC ART 

10 FIGURINE. 

Terra-cotta. Dancing Eros. 

From Myrina. Ill Century B.C. 

Gift of Mr. Harold Woodbury Parsons. 

11 GOLD FIGURINE. EROS. 

Greek. Hellenistic. 

Gift of Mr. and Mrs. J. H. Wade. 

12 HEAD OF APHRODITE. 

Marble. Alexandrian school. 
Greek. Hellenistic Period. 
Bequest of Liberty E. Holden. 

13 FRAGMENT OF A MOULD FOR MAKING AN AR- 
RETINE BOWL. 

Terra-cotta. Subject, a banquet. Two men reclining are 
waited on by two maids; a female musician reclines below 
them, holding a lyre. Above hangs a horseshoe-shaped gar- 
land. Signed M. PERENN TIGRAN. 

These moulds were used for making the famous Arre- 
tine pottery in which the ornament is in relief on the out- 
side of the vessel. The moulds were made by the use of 
stamps in different combinations. They are very scarce 
and of great interest. M. Perennius was a master-potter of 
Arrezo. Tigranes was probably the Greek slave potter 
who did the work. 

Roman. Probably between 100 B.C. and 100 A.D. 

The John Huntington Collection. 

14 FRAGMENT OF A MOULD FOR AN ARRETINE 
BOWL. 

Terra-cotta. Two of the same figures as appear in the 
previous example, but grouped differently. 

Roman. Probably between 100 B.C. and 100 A.D. 

The John Huntington Collection. 

15 VASE. 

Red figures on a black ground. Religious scene. 
Found at Capua. II Century B.C. 
Lent by Sig. A. Canessa. 



THE CLEVELAND MUSEUM 

1 6 FRAGMENTS OF PAINTED VASES. 

Pottery. Black on red. Earliest type; first made from 
about 600-500 B.C. From the Necropolis of Ferentum 
(Viterbo). 

Greek. Probably made in Italy ante 280 B.C. 

The John Huntington Collection. 

17 HEAD OF HERCULES. 

Marble. 

Hellenistic Period. III-I Century B.C. 
The John Huntington Collection. 

18 VASE. 

Red figures on a black ground. On one side Apollo. 
II Century B.C. 
Lent by Sig. A. Canessa. 

19 LEKYTHOS. 

Pottery. For deposition in tombs. Decorated with 
friezes of animals, incised and filled with red and black 
on a yellow background. 

Greek, Corinthian. VIII to VI Century B.C. 

The John Huntington Collection. 

20 VASE. 

Black figures on a red ground. Combat. 
V Century B.C. 
Lent by Sig. A. Canessa. 

21 KANTHAROS. 

Pottery. Black ware, with fluted body. 
Greek. 
Gift of Mr. and Mrs. J. H. Wade. 

22 VASE. 

Red figures on a black ground. Armed warrior and vestal. 
IV Century B.C. 
Lent by Sig. A. Canessa. 

23ASKOS. 

Pottery. Wine jar with cover. Pinkish buff. Painted with 
black, red and white. Two handles; three mouths, one 
pierced with a rose for straining. 

Apulia IV or III Century B.C. 

The John Huntington Collection. 

6 



CLASSIC ART 

24 VASE. 

Blown glass. Decorated with glass threads. Green. 
From Asia Minor. 
The John Huntington Collection. 

25 VASE. 

Blown glass. Greenish with blue handles. 
From Asia Minor. 
The John Huntington Collection. 

26 PITCHER. 

Glass. Blown in a mould. Decorated with bands of spirals. 
Green. 

From Asia Minor. 

The John Huntington Collection. 

27 BOWL. 

Blown glass. Raised gadroons outside, perhaps made with 
pincers while hot. Sea green. 

From Asia Minor. 

The John Huntington Collection. 

28 VASE. 

Blown glass. Decorated with glass threads. 
From Asia Minor. 
The John Huntington Collection. 

29 CUP. 

Glass. Blown in a mould; decorated with four lines cut. 
Greenish. 

The art of cutting glass became prevalent in the III-V 
Centuries A.D., and was carried to a great pitch of elab- 
oration. 

From Asia Minor. 

The John Huntington Collection. 

30 SYRIAN LEKYTHOS. 

Blown glass. Decorated with glass threads. Green. 

These vessels come mostly from Syrian tombs of the 
IV Century A.D. 

From Asia Minor. 

The John Huntington Collection. 

7 



THE CLEVELAND MUSEUM 

31 SYRIAN LEKYTHOS. 

Blown glass. Decorated with glass threads. Green. 
From Asia Minor. 
The John Huntington Collection. 

32 VASE. 

Blown glass. Decorated with glass threads. Yellowish. 
From Asia Minor. 
The John Huntington Collection. 

33 PITCHER. 

Blown glass, with ribbed body. Green. 
From Asia Minor. 
The John Huntington Collection. 

34 BOTTLE. 

Blown glass. Decorated with threads of glass, applied 
while hot. This process probably dates from the I Cen- 
tury A.D. Yellowish. 

From Asia Minor. 

The John Huntington Collection. 

35 CUP WITH INDENTED SIDES. 

Blown glass. Clear. 
From Asia Minor. 
The John Huntington Collection. 

36 PITCHER. 

Blown Glass. Decorated with glass threads. Green. 
From Asia Minor. 
The John Huntington Collection. 

37 LEKYTHOS. 

Black figures on a red ground. Several satyrs dancing. 
V Century B.C. 
Lent by Sig. A. Canessa. 

38 BOTTLE. 

Blown glass. Green. 
From Asia Minor. 
The John Huntington Collection. 



CLASSIC ART 

39 KANTHAROS. 

Pottery. Black ware. Decorated round neck with conven- 
tional garlands in slip. 

Gift of Mr. and Mrs. J. H. Wade. 

40 HEAD. 

Marble. 

Greek. IV Century B.C. 
Lent by Sig. A. Canessa. 

41 LEKANE. 

Pottery. Black ware. Anthemion stamped on shoulder. 
South Italian. After IV Century B.C. 
The John Huntington Collection. 

42 BOTTLE. 

Blown glass. Decorated with glass threads. 
From Asia Minor. 
The John Huntington Collection, 

43 OINOCHE. 

Black figures on red ground. Dancing satyrs. 
V Century B.C. 
Lent by Sig. A. Canessa. 

44 BOTTLE. 

Blown glass. Decorated with glass threads. 
From Asia Minor. 
The John Huntington Collection. 

45 PITCHER. 

Glass. Blown with a spiral twist. Green. 
From Asia Minor. 
The John Huntington Collection. 

46 FRAGMENT OF A LION. 

Marble. Possibly from a sarcophagus or a vase. 
Roman. I or II Century A.D. 
The John Huntington Collection. 

47 CIPPUS. 

Marble. Coffer for the reception of the ashes of the dead. 
Roman. 
The John Huntington Collection. 



THE CLEVELAND MUSEUM 

48 BOTTLE. 

Blown glass. Green. 

The art of blowing glass was discovered probably in 
the Greek Orient in the II or I Century B.C. 

From Asia Minor. 

The John Huntington Collection. 

49 BOX. 

Alabaster. 

Gift of Mr. and Mrs. J. H. Wade. 

50 BOTTLE. 

Blown glass. Greenish. 
From Asia Minor. 
The John Huntington Collection. 

51 STRIGIL. 

Bronze. Roman. 

Gift of Mr. Willard D. Clapp. 



ANTIQUITIES FROM CYPRUS: FROM THE CESNOLA 

COLLECTION 

A collection of Cypriote pottery is full of interest both from an 
archaeological and from an artistic point of view. Archseologically 
its great importance lies in the fact that it shows an almost unbro- 
ken succession of styles from the Early Bronze Age, about 3000 
B.C., down to the Roman period, and thus gives us a complete pic- 
ture of the art of pottery in an important centre of ancient civili- 
zation for about three thousand years. Artistically it is probably the 
most successful product of the Cypriote artist. His sense of form 
and decoration could here find full expression without disclosing 
the lack of high artistic inspiration which is apparent in his sculp- 
tural creations. 

The fifty vases here shown cover a period of over two thousand 
years, and represent the most important fabrics prevalent in Cy- 
prus during the Bronze and Early Iron Ages. The earlier ware rep- 
resents the native products of the island, and a characteristic com- 
mon to them all is that they were made by hand, not on the wheel. 
Much of the attraction of these vases is due to this quality, which 
gives them a certain irregularity of form. Towards the end of the 

10 



CLASSIC ART 

Bronze Age the use of the wheel was learned from the Minoan col- 
onists who arrived in Cyprus after the disruption of the Minoan 
empire, bringing with them new styles of pottery. The Bronze Age 
lasted until the end of the second millennium B.C. At about 1200 
B.C. iron first made its appearance in Cyprus, and by about 1000 
B.C. its use had become fully established. The pottery of this Early 
Iron Age is no longer as markedly individual as was the earlier 
ware. Both the shapes and the decorative designs are those com- 
monly employed in geometric art all over the Greek world. 

52 BOTTLE. 

Pottery. Red polished ware. 

Early Bronze Age. About 3000-2000 B.C. 

This is the earhest pottery found in Cyprus. The vases are 
all made by hand, without the use of the wheel. The polish 
was obtained by rubbing the surface with a pebble. The 
forms of this ware are mostly derived from the shapes of 
leather bottles or gourds, while the ornaments were ap- 
parently influenced by basketwork. This ware is very 
similar to that of Pre-Dynastic Egypt. 

The John Huntington Collection. 

53 JUG. 

Pottery. Red polished ware. Incised pattern. 
Early Bronze Age. 
The John Huntington Collection. 

54 JUG. 

Pottery. Red polished ware. Incised pattern. 
Early Bronze Age. 
The John Huntington Collection. 

55 JUG. 

Pottery. Red polished ware. Incised pattern. 
Cypriote. Early Bronze Age. 
The John Huntington Collection. 

56 JAR WITH HANDLES. 

Pottery. Red polished ware. 
Early Bronze Age. 
The John Huntington Collection. 

II 



THE CLEVELAND MUSEUM 

57 CUP WITH ONE HANDLE. 

Pottery. Red polished ware. 
Early Bronze Age. 
The John Huntington Collection. 

58 JUG. 

Pottery. Black slip ware. Incised pattern. 

These vases are evidently imitations of the red polished 
variety, but are made of a lighter clay and covered with 
a black slip. The decorations consist of incisions or narrow 
ridges of various patterns. 

Middle Bronze Age. 

The John Huntington Collection. 

59 JUG. 

Pottery. Black slip ware. Pattern in relief. 
Middle Bronze Age. 
The John Huntington Collection. 

60 BOTTLE WITH EAR. 

Pottery. Cypriote. White painted ware. 

The vases of this ware are made of a yellowish clay, with 
no colored slip, and are decorated with geometric patterns 
in brown or black color, mostly borrowed from basket- 
work or other coarse textile. 

Middle Bronze Age. About 2000-1500 B.C. 

The John Huntington Collection. 

61 CUP WITH HANDLE. 

Pottery. White painted ware. 
Middle Bronze Age. 
The John Huntington Collection. 

62 BOTTLE WITH EAR. 

Pottery. White painted ware. 
Middle Bronze Age. 
The John Huntington Collection. 

63 BOTTLE WITH EAR. 

Pottery. White painted ware. 
Middle Bronze Age. 
The John Huntington Collection. 

64 CUP WITH HANDLE. 

Pottery. White painted ware. 
Middle Bronze Age. 
The John Huntington Collection. 

12 



CLASSIC ART 

6s BOTTLE WITH LONG NECK. 

Pottery. White painted ware. 
Middle Bronze Age. 
The John Huntington Collection. 

66 BOWL WITH HANDLE. 

Pottery. White slip ware. 

This is one of the most distinctive wares of Cypriote 
pottery. The clay is of dark grey color, covered with a 
thick white slip, on which the decorations are applied in 
blackish paint. The shapes of the vases imitate leather- 
work; the decorations are suggestions of stitches or lacings. 

Late Bronze Age. About 1500-1200 B.C. 

The John Huntington Collection. 

67 BOWL WITH HANDLE. 

Pottery. White slip ware. 
Late Bronze Age. 
The John Huntington Collection. 

68 VASE WITH ONE HANDLE. 

Pottery. White slip ware. 
Late Bronze Age. 
The John Huntington Collection. 

69 LONGNECKED JUG. 

Pottery. White slip ware. 
Late Bronze Age. 
The John Huntington Collection. 

70 VASE WITH ONE HANDLE. 

Pottery. Cypriote. Base-ring ware. 

The vases of this ware, so called from the distinct standing 
base with which most of the examples are supplied, are of 
the same greyish clay as the white slip ware, but without a 
prepared surface. In the former the influence both of 
leatherwork and metal vases is apparent. The ornaments 
are applied either in white paint or modeled in relief. 
Examples of this ware have also been found on several 
Egyptian sites of XVIII Dynasty date. 

Late Bronze Age. 

The John Huntington Collection. 

13 



THE CLEVELAND MUSEUM 

71 LONGNECKED JUG. 

Pottery. Base-ring ware. 
Late Bronze Age. 
The John Huntington Collection. 

72 JUG WITH ONE HANDLE. 

Pottery. Base-ring ware. 
Late Bronze Age. 
The John Huntington Collection. 

73 VASE WITH THREE HANDLES. 

Pottery. Cypro-Mycenaean ware. 

These vases mark the introduction of the potter's wheel. 
They are the product of the Minoan colonists who estab- 
lished themselves in Cyprus after the fall of the great 
Minoan empire of Crete. In all essentials this pottery is 
like the "Mycenaean" ware found all over the Greek 
world. The symmetrical shapes are different from the 
other Cypriote wares of the Bronze Age. The decorations 
are applied in a highly lustrous, reddish-brown paint on a 
cream-colored background, and consist mostly of hori- 
zontal bands and ornaments derived from the naturalistic 
prototypes of earlier Minoan art. 

Late Bronze Age. 

The John Huntington Collection. 

74 VASE WITH THREE HANDLES. 

Pottery. Cypro-Mycenaean ware. 
Late Bronze Age. 
The John Huntington Collection. 

75 BOTTLE WITH TWO HANDLES. 

Pottery. Cypro-Mycenaean ware. 
Late Bronze Age. 
The John Huntington Collection. 

76 VASE WITH TWO HANDLES. 

Pottery. Cypro-Mycenaean ware. 
Late Bronze Age. 
The John Huntington Collection. 

77 BOTTLE WITH TWO HANDLES. 

Pottery. Cypro-Mycen^an ware. 
Late Bronze Age. 
The John Huntington Collection. 

14 



CLASSIC ART 

78 JUG. 

Pottery. Cypriote Bucchero ware. 

This ware is so called from its similarity to the well-known 
Etruscan pottery of that name. It probably represents one 
of the arts introduced by the colonists. The clay is of 
light color with a dark sHp. The shapes are mostly imi- 
tated from metal prototypes. 

Early Iron Age: About 900-700 B.C. 

The John Huntington Collection. 

79 JUG WITH FLUTED BODY. 

Pottery. Cypriote Bucchero ware. 
Late Bronze Age. 
The John Huntington Collection. 

80 VASE. 

Pottery. Cypriote. White painted ware. 

This is by far the commonest ware of the Early Iron Age. 
Except for certain changes in form and decoration it re- 
mained the same for more than seven centuries. On the 
whitish clay of the vases the decorations are applied in 
dull black and red colors. The vases show great variety in 
size, ranging from colossal to miniature examples. The 
decorations are mostly geometrical. 

Early Iron Age: About 1000-300 B.C. 

The John Huntington Collection. 

81 BARREL-JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

82 VASE. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

83 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

15 



THE CLEVELAND MUSEUM 

84 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

85 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

86 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

87 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

88 BOWL. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

89 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

90 VASE. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

91 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

92 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

16 



CLASSIC ART 

93 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

94 VASE. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

95 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

96 JUG. 

Pottery. White painted ware. 
Early Iron Age. 
The John Huntington Collection. 

97 JUG. 

Pottery. Cypriote. Red painted ware. 

The red painted ware forms a parallel series to the white 
painted fabric. The shapes and ornaments are the same, 
but the clay is brick red. 

Early Iron Age. 

The John Huntington Collection. 

98 JUG. 

Pottery. Red painted ware. 
Early Iron Age. 
The John Huntington Collection. 

99 BOWL. 

Pottery. Red painted ware. 
Early Iron Age. 
The John Huntington Collection. 

100 VASE. 

Pottery. Red painted ware. 
Early Iron Age. 

The John Huntington Collection, 
loi JUG. 

Pottery. Red painted ware. 
Early Iron Age. 
The John Huntington Collection. 

17 



THE CLEVELAND MUSEUM 
IO2LAMP. 

The device of pinching together part of the rim of a saucer 
and thereby fashioning a lamp was introduced into Cyprus 
about the VII Century B.C. This example, and the one 
following, probably belong to the V or IV Century B.C. 

The John Huntington Collection. 

103 LAMP. 

Probably V or IV Century B.C. 
The John Huntington Collection. 

104 LAMP. 

Concave top and scrolled nozzle. This type of lamp is com- 
monly found throughout the Roman Empire from the I 
Century B.C. to the I Century A.D. 
The John Huntington Collection. 

105 LAMP. 

I Century B. C. to I Century A. D. 
The John Huntington Collection. 

106 LAMP. 

I Century B. C. to I Century A. D. 
The John Huntington Collection. 

107 LAMP. 

I Century B. C. to I Century A. D. 
The John Huntington Collection. 

108 DAGGER-BLADE. 

Copper daggers of this type represent the earliest metal 
weapons found in Cyprus. They are of almost pure copper. 

Early Bronze Age. About 3000-2000 B.C. 

The John Huntington Collection. 

109 DAGGER-BLADE. 

Copper. 

Early Bronze Age. 

The John Huntington Collection. 

no JAVELIN-HEAD [.?] 
Copper. 

Early Bronze Age. 

The John Huntington Collection. 

18 



CLASSIC ART 

111 AXE-HEAD. 

Copper. Like the dagger-blades in this collection these 
axe-heads are of almost pure copper. Their small size 
makes it probable that they were used as implements 
rather than as weapons. 

Early Bronze Age. 

The John Huntington Collection. 

112 AXE-HEAD. 

Copper. 

Early Bronze Age. 

The John Huntington Collection. 

113 MIRROR. 

Cypriote Bronze. Disc-shaped, without handles. 

Such mirrors were made in pairs and polished on the 
recessed and flat sides respectively, the latter having a 
beveled edge into which the other fitted like a cover; both 
polished surfaces were thus protected. This mirror and 
No. 114 do not form an actual pair. 

Ill Century B.C. [.?] 

The John Huntington Collection. 

114 MIRROR. 

Bronze. Disc-shaped, without handles, 
III Century B.C. [.?] 
The John Huntington Collection. 

115 ARROW-HEADS. 

and Bronze. 

116 This type of arrow-head, with four-sided blade, occurs on 
Greek sites during the classic period, and can be dated to 
the V Century B.C. from its occurrence on the battle-field 
of Marathon. 

The John Huntington Collection. 

117 DISH. 

Glass vases largely took the place of pottery in Cyprus 
as elsewhere after the invention of the blowing-tube about 
I Century B.C. which made possible the production of 
glass in large quantities. The examples here exhibited 
show the prevalent shapes. 

Roman. II and III Centuries A.D. 

The John Huntington Collection. 

19 



THE CLEVELAND MUSEUM 

ii8 GOBLET. 
Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

119 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

120 JUG. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

121 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

122 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

123 JUG. 

Glass. 

Roman. II and III Centuries A.D 
The John Huntington Collection. 

124 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

125 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

126 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

20 



CLASSIC ART 

127 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

128 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

129 GOBLET. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

130 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

131 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 

132 BOTTLE. 

Glass. 

Roman. II and III Centuries A.D. 
The John Huntington Collection. 



21 



GALLERY I— COLONIAL ART 



THE conditions under which the colonists reached these shores, 
would naturally preclude their bringing with them any great 
stores of what are now-a-days classed as works of art. A small 
amount of household furniture, probably mostly in the form of chests, 
and perhaps some silverware and pewter, would in all likelihood be 
all they could have carried with them. Moreover, the great majority 
of them were of the yeoman class and were accustomed to extreme 
simplicity, not to say bareness, in the homes they had left. How- 
ever, from the first the more prosperous among them must have 
imported such articles of luxury and refinement as their taste 
demanded and their needs would afford. 

Pottery and glassware, neither of them of any special artistic 
merit, were made in the colonies from early times, and a certain 
amount of furniture made by these simple folk still survives. Church 
plate, in a limited quantity, seems to have been brought over from 
both England and Holland in the Seventeenth century. A few gold 
and silversmiths established themselves both in Boston and New 
York. Some of their work is of great excellence, but, except from 
the patriotic interest arising from its having been made in America, 
it differs not at all from the contemporaneous European silver, the 
varying styles of which it closely reflects. Even in the South which 
was settled by a richer class of colonists, it is doubtful whether 
much, even household gear, remains of an earlier date than the 
Eighteenth century. A limited number of pieces of furniture are 
known to have been made in this country; the material of which 
others are made betrays their American origin, but for the most part, 
in the absence of evidence to the contrary, we may safely assume 
the greater part of colonial furniture as late in date as the end of 
the Seventeenth century, to have been imported. By 1750 or so 
the colonies had become more or less self-sufficing, and real colonial 
work became commoner. Still it was only in what may be called 
necessities that the artistic spirit had a chance to manifest itself; 
even architecture made very little way before the first quarter of 
the Eighteenth century. 

Traditionally, certain portraits of early New England worthies 
were painted in the colony, but this is understood to be a matter 

23 



THE CLEVELAND MUSEUM 

of question; certainly the best of them were painted in England. 
Isham says: "it is well nigh impossible to place any names on 
canvases that survive from the period before 1750." 

The earliest artist of merit whose works are known, is John 
Smybert or Smibert, who came from Holland in 1728, and settled 
in Boston. There were others, but it was not until Copley and West 
were born that American painting became of serious importance. 
They were followed by Stuart, Trumbull, Allston and Malbone, 
to mention only a few of the more important names. In the next 
generation Sully and Jarvis reflect the waning of European influ- 
ences, and following them, Harding and Neagle. The activities 
of these men stretch well into the Nineteenth century, — indeed, 
Sully who was born in 1783, lived until 1872. 

The Pennsylvania Academy of Fine Arts was founded in 1805, 
and the New York Academy of Arts, afterwards the National 
Academy of Design, in 1808. 

Although many of the earlier men had painted landscapes, 
the first American landscape painter was Doughty; but his efi^orts 
were over-shadowed by those of Durand and Cole, who are justly 
regarded as the West and Copley of the Landscape School. From 
among their pupils and followers, Durand's in especial, sprang 
the members of the well-known Hudson River School, Kensett, 
Richards, Whittridge, Gifford, Church and others, whose work, 
much of it excellent, is at all events purely American. 

Most of the early painters who were not directly trained in 
England, sought inspiration in Italy, but now in the 1830's, an 
unaccountable impulse sent American students to Diisseldorf, 
and a little later to Munich, with in most instances, far from the 
happiest results on their accomplishment. After the Civil War 
the attention of American art students was inevitably directed 
to the fertile and flourishing art of the Second Empire, and the 
tide, which is still running, set towards Paris. The older of the 
living artists are pupils of Couture, Duran, Bouguereau, and Le- 
febvre, while the newer school men are followers of Monet and 
Degas. 

Not that from the time of the Hudson River school America 
has not produced artists whose work owes little or nothing to Euro- 
pean example. It would be invidious to give names, but the stu- 
dent will find it easy to discriminate. One American painter in- 
deed. Whistler, has perhaps wielded greater influence than any one 
man in the Nineteenth century. 

24 



COLONIAL ART 

EARLY AMERICAN SILVER 

It is not until comparatively recently that interest has been 
manifested in the work of our Colonial silversmiths. It is true that 
in 1888 J. H. Buck published his book entitled "Old Plate," but 
this dealt more with English than American silver, though the lat- 
ter was distinctly a feature of the work. 

Dr. T. S. Woolsey made an attempt to call the attention of 
collectors and the public to the beauty and value of American plate in 
1896 in his writings for Harpers' Monthly Magazine; but though 
there were a few discerning connoisseurs like R. T. H. Halsey 
of New York, whose collection stands in many ways unrivalled 
to-day, no widespread interest was manifested in this art until the 
exhibition of American silver was held at the Museum of Fine 
Arts, Boston, in 1896. 

Here were displayed more than three hundred examples of the 
work of our early craftsmen, mostly New England makers. 

Since that time several notable exhibitions have been held, 
the principal ones being those of the Hudson-Fulton Celebration 
in 1909, the Exhibition of New York and New Jersey Silversmiths 
in 191 1 (both at the Metropolitan Museum in New York) and in 
the same year the great collection of American church silver 
shown at the Museum of Fine Arts in Boston. 

The few pieces of silver now shown in Cleveland are not in- 
tended to be other than suggestive, and the articles for that reason 
have been selected with a view of providing a distinctive series of 
the various products of our early silversmiths, of whose art America 
may be justly proud. With but few exceptions they are all by New 
Englanders, many of whom were prominent in various walks of 
life. 

In Colonial days New England long enjoyed a pre-eminence 
and owing to her great trade with the Mother Country her wealth 
commanded a patronage for luxuries which was well reflected in 
the production of silver, both for domestic and ecclesiastical uses. 
The style of the productions was simple and substantial and though 
in line the pieces followed the work of the English artisans, no 
elaborately ornamented pieces were ever made here, though such 
were frequently found in England. Thus the art in the Colonies 
was in keeping with the simple life of the people and has for us a 
charm which is indeed a heritage. 

25 



THE CLEVELAND MUSEUM 

Those were the days before the advent of machinery brought 
the "spinning" process into use and before the buffing wheel was 
thought of, and who can look at the early work and not say it was 
better without the later "improvements" in manufacture. It is 
true it would be impossible to-day to supply the vast needs of the 
public without factory made silver articles, and yet the product 
has lost much of its interest by modern methods. 

When pieces were beaten out by hand, trued by a foot lathe 
and finished with rotten stone and burnishers, a patina was pro- 
duced which cannot be obtained by modern methods, and when 
each craftsman was his own artist and designer a form was evolved 
which cannot be imitated by factory work. 

With but two or three exceptions all the silver here shown is 
from the collections of Dwight Blaney and Hollis French of Boston, 
and George S. Palmer of New London, and although as previously 
stated, almost all the pieces are the work of New England silver- 
smiths showing the English influence, it is hoped that later some 
of the work of the New York makers may be put on exhibition, 
since they will in a most interesting manner show the influence of 
the Dutch on their design. 

HoLLis French. 



1 FLAGON. 

Engraved "North Church, Newburyport". Mark, J. B. 
Jones in rectangle. 

J. B. Jones. Boston. 1782-1854. 

2 BEAKER. ^^ 

Engraved "This belongs to ye Church of Christ in Truro." 
Mark, M R in square. 

Moody Russell. Barnstable, Mass. 1 694-1 761. 

3 BEAKER. 

Engraved. "This belongs to the Church in Truro 17 17". 
Mark, I E crowned; fleur-de-lys below in shield. 
John Edwards. Boston. 1701-1755. 

4 ALMS BASTN. 

Engraved "The Gift of Thomas Hancock Esq'- to the 
Church in Brattle street Boston 1 764." Mark, J. COBURN 
in rectangle. 

John Coburn. Boston. 1725-1803. 

26 



COLONIAL ART 

5 PEPPER CASTER. 

R 

Engraved E R on body. Mark, HURD in rectangle. 
Jacob Hurd. Boston. 1702-1758. 

6 TEASPOON. 

H 

Engraved R S on handle. Mark, Boyer in cartouche. 
Daniel Boyer. Boston. About 1725-1779. 

7 TEASPOON. 

Engraved S S on handle. Mark, I A in rectangle. 
Josiah Austin. Charlestown, Mass. 1719-1780. 

8 TEASPOON. 

N 
Engraved A A. Mark, A N in rectangle. 
Abijah Northey. Salem, Mass. About 1770. 

9 TEASPOON. 

Engraved E W. Mark, PARSONS in rectangle. 
About 1750. 

10 TANKARD. 

Engraved A. L on handle. Anna Leonard on bottom. 
Mark, E. Cobb, in rectangle. 

Ephraim Cobb. Plymouth, Mass. 1708-1775. 

11 TEASPOON. 

Engraved L A on handle. Mark, BALL in rectangle. 
John Ball. About 1770. 

12 TEASPOON. 

Engraved M L on handle. Mark, C. DUNN in rectangle. 
Cary Dunn. New York. 1765. 

13 TEASPOON. 

P 

Engraved I M on handle. Mark, L Burt in rectangle. 
John Burt. Boston. 1691-1745. 

14 TEASPOON. 

Engraved L R on handle. Mark, P S in rectangle. 
Philip Syng. Philadelphia. 1 703-1 789. 

15 RAPIER. 

Mark, Hurd in rectangle. 

Jacob Hurd. Boston. 1702-1758. 

27 



THE CLEVELAND MUSEUM 

i6 CREAMER. 
P 

Engraved R L on bottom. Mark, S: CASEY in rectangle. 
Samuel Casey. Newport, R. I. About 1724- 1770. 

17 TEAPOT. 

Engraved A W to A W on side. Mark, R & H FARNAM 
in rectangle. 

Rufus and Henry Farnam. Boston. Born about 1771 

and 1773. 

18 CREAM PITCHER. 

G 
Engraved W M on handle; E B D to E A B on body. 
Mark, I E in a rectangle. 

Joseph Edwards. Boston. 1707-1777. 

19 SALT SPOON. 

Engraved T B on handle. Mark, W W in rectangle. 

20 TWO TEASPOONS. 

Engraved H L. Mark, C L in scalloped rectangle. 
Charles Leach. Boston. 1789-1796. 

21 TEASPOON. 

Engraved A W. Mark, T A in oval. 
Thos. Arnold. Newport, 1750. 

22 TANKARD. 

B 

Engraved S C on bottom. S B to R A on handle. Mark, 
I E crowned; fleur-de-lys_below in shield. 
John Edwards. Boston. 1701-1755. 

23 MOTE SPOONS. 

Engraved H C and H P on bowls. Unmarked. 

24 MOTE SPOON. 

Engraved B W in bowl. Mark, T.T in rectangle. 
Thomas Trott. Boston. About 1701-1777. 

25 MOTE SPOON. 

Mark, M M script in rectangle. 
Myer Myers. New York. 1746. 

26 PEPPERBOX. M 

Engraved A M on body; D L on bottom. Mark, A. 
TYLER in long oval. 

Andrew Tyler. Boston. 1692-1741. 

28 



COLONIAL ART 

27 CREAM PITCHER. 

Mark, Z B in rectangle. 

Zachariah Brigden. Boston. 1734-1787. 

28 PAP BOAT. 

Mark, C DUNN in oval. 

Cary Dunn. New York. 1765. 

29 CREAM PITCHER. 

Engraved L H on handle. Unmarked. 

30 TRENCHER SALTS. 

Engraved M G on side. Mark, nearly obliterated; H only 
visible. 

31 SPOON. 

Engraved L R on handle. Mark, S V; fleur-de-lys below 
in heart. 

Samuel Vernon. Newport, R. I. 1683-1737. 

32 SPOON. 

Engraved "Zaccheus Starbuck Born y= i*' of y" ^^ mo"^ 
1733". Mark, I T in shield. 
James Turner. Boston. About 1759. 

32a PORRINGER. 

Engraved "Abigail Hussey Born 10™ 22 1679." 
Mark, E W in rectangle. 

Edward Winslow. Boston. 1 669-1753. 

32 TWO SPOONS. 

Engraved M Y June 16, 1729. Mark, I E crowned; fleur- 
de-lys below in shield. 

John Edwards. Boston. 1701 to 1755. 

34 PATEN. 

Engraved J. B. R. in decorative monogram. Mark, B S; 
fleur-de-lys below in heart. 

Bartholomew Schaats. New York. 1 670-1720. 

35 SMALL PATEN. 

B 

Engraved E S, N D on bottom. Mark, I D in oval. 
John Dixwell. Boston. 1680-1725. 

36 SPOON. IL 

Engraved I B on handle. Mark, W G with three stars in 
shield. 

29 



THE CLEVELAND MUSEUM 

37 SPOON. B 

Engraved I M on handle. Mark, T H; sun below in shield. 

38 PORRINGER. 

W 

Engraved C M on handle. Mark, B. Burt in rectangle. 
Benjamin Burt. Boston. 1729-1804. 

39 SPOON. (Small) 

Mark, S V; fleur-de-lys below in shield, small. 
Samuel Vernon. Newport, R. I. 1683-1737. 

40 SPOON. 

T 

Engraved W K on handle. Mark, W. Cowell in cartouche. 
William Cowell. Boston. 1682-1736. 

41 PITCHER. 

Mark, PITMAN in rectangle. 

Saunders Pitman. Providence, R. I. 1 732-1804. 

42 CASTER. 

Engraved Sprague 1760. Mark, T C in rectangle. 
Thomas Coverly. Newburyport, Mass. 1 730-1 800. 

43 CASTER. 

Engraved M B on lower body. Mark, D T in rectangle. 
David Tyler. Boston. About 1 760-1 804. 

44 TEAPOT. 

Engraved with coat of arms. Mark, N. Hurd in cartouche. 
Nathaniel Hurd. Boston. 1729-1777. 

45 SPOON. 

Engraved E B. Mark, W H in rectangle. 
William Homes. Boston 1707-1783. 

46 SPOON. 

Engraved B. I. W. Mark, REVERE in rectangle. 
Paul Revere. Boston, 1735-1818. 

47 CREAM JUG. 

Engraved W E H with a crest on body. Mark, Hurd in 
oval. 

Jacob Hurd. Boston. 1702-1758. 

30 



COLONIAL ART 

48 CUP. 

Engraved "The gift of Jos'"- Allen, esq"' and wife to the 
4'^ Church in Glocester, 1751." Mark, Benjamin in 
cartouche. Burt 

Benjamin Burt. Boston. 1729-1804. 

49 PEPPERBOX. 

H 

Engraved B L on body. Mark, E W in rectangle. 
Edward Winslow. Boston. 1669-1753. 

50 SPOON. 

G 

Engraved W E. Mark, Minott in rectangle. 
Samuel Minott. Boston. 1732-1803. 

51 SPOON. 

Engraved S D. Mark, S E crowned in shield. 
Samuel Edwards, Boston. 1705- 1762. 

52 TWO SPOONS. 

Engraved E P 1757. Mark, HOMES in rectangle. 
William Homes. Boston. 1707-1783. 

53 TEAPOT. 

Engraved C M to W P. Monograms on side. Mark, 
MOULTON incised. 

WiUiam Moulton, 4th. Newburyport, Mass. 1772-1861. 

54 PEPPERBOX. 

Engraved lohn Bassett, M B on bottom. Mark, I Burt 
in oval. 

John Burt. Boston. 1691-1745. 

55 COVERED SUGAR BOWL. 

Mark, T. LYNDE in rectangle. 

Thomas Lynde. Worcester, Mass. 1748-18 12, 

56 CREAM JUG. 

Mark, W S in cartouche. 

William Swan. Worcester, Mass. 1715-1774. 

57 SPOON. 

Engraved I C on handle. Mark, A C in a shield. 
Arnold Collins. Newport, R. I. 1690. 

31 



THE CLEVELAND MUSEUM 

5 8 SPOON. 

T 

Engraved I S. Mark, P R in a crowned shield. 
Paul Revere, Sr. Boston. 1702-1754. 

59 BEAKER. 

Engraved S C on bottom. Mark, M R in a square. 
Moody Russell. Barnstable, Mass. 1694-1761. 

60 PUNCH LADLE. 

Mark, O P D P in rectangle. 

Otto and David Parisien. New York. 1789. 

61 BEAKER. 

Mark, I C crowned; cony below in a shield. 
John Coney. Boston. 1655-1722. 

62 SAUCEBOAT. 

Engraved with coat of arms and crest. Mark, D I in oval. 
Possibly David Jesse, Boston, 1670-1705. 

63 BRAZIER. 

Engraved with arms and initials L. H. Mark, I Hurd in 
cartouche. 

Jacob Hurd. Boston. 1702-1758. 

64 PORRINGER. 

Mark, REVERE in rectangle. 
Paul Revere. Boston. 1735-1818. 

65 SALTCELLAR. 

Engraved A M on bottom. Mark, Z B in rectangle. 
Zachariah Brigden. Boston. 1734-1787. 

66 TWO SUGAR SCISSORS. 

Unmarked. 

67 KNEE BUCKLES. 

Engraved H B. Unmarked. 

68 DRAM CUP. 

Engraved R M. to R P on bottom. Unmarked. 

69 PORRINGER. 

H 

Engraved E S. Mark, A. T.; fleur-de-lys below in heart. 
1784 
Andrew Tyler. Boston. 1692-1741. 

32 



COLONIAL ART 

70 BOWL. 

Engraved "The gift of Mr. Jonas Rowlandson to Mr.Tho^ 
Woodbridge 1740", with brig under sail. Mark, ■J"°'' , in 
cartouche. rlurd 

Jacob Hurd. Boston. 1702-1758. 

71 PORRINGER. 

Engraved L B. W B on handle. Mark, A. T. crowned; cat 
below, in shield. 

Andrew Tyler. Boston. 1692-1741. 

72 BEAKER. 

Mark, G HANNERS in rectangle. 
George Hanners. Boston. 1 696-1740. 

73 CAN. 

Engraved B F G in monogram, 1778 on bottom. Mark, 
Z. Brigden in cartouche. 

Zachariah Brigden. Boston. 1734-1787. 

74 CAN. 

Mark, W. Cowell in cartouche. 

WilHam Cowell. Boston. 1682-1736. 

75 TWO SUGAR BOWLS. 

Engraved A W to A W on bodies. Mark, R & H FAR- 
NAM in rectangle. 

Rufus and Henry Farnam. Boston. Born about 1771 

and 1773. 

76 SPECTACLES. 

Mark, PIERCE in rectangle. 
Boston. About 1800. 

77 CREAM JUG. 

Engraved "S H to R C 1756" on handle. Unmarked. 

78 PAIR OF TRAYS. 

H 

Engraved A T on bottom. Mark, HURD in a rectangle. 
Jacob Hurd. Boston. 1702-1758. 

79 BEAKER. 

Engraved K D on bottom. Mark, S E crowned; fleur-de- 
lys below in shield. 

Samuel Edwards. Boston. 1705- 1762. 

33 



THE CLEVELAND MUSEUM 

80 CASTER. 

Mark, S M in rectangle. 

Samuel Minott. Boston. 1732-1803. 

81 BEAKER. 

Engraved I S on bottom. Mark, W C in oval. 
William Cowell. Boston. 1682-1736. 

82 CREAM JUG. 

Mark, J. COBURN in rectangle. 
John Coburn. Boston. 1 725-1803. 

83 CHATELAINE. 

Engraved E. B. on clasp. Mark, I D in rectangle. 

84 PORRINGER. 

Engraved M C on handle. Mark, AT crowned; cat below 
in shield. 

Andrew Tyler. Boston. 1 692-1 741. 

85 NUTMEG-GRATER. 

Engraved C S monogram on lid. Unmarked. 

86 TANKARD. 

Mark, H B in rectangle. 

87 SNUFFBOX. 

Engraved Gerardus Boyce, New York. Mark, G. BOYCE 
in rectangle. 

Gerardus Boyce. New York. About 1820. 

88 PORRINGER. SAMUEL 

Engraved C P on handle. Mark, BURT in cartouche. 
Samuel Burt. Boston. 1724-1754. 

89 CASTER. 

Mark, REVERE in rectangle. 
Paul Revere. Boston. 1735-1818. 

90 TANKARD. 

Mark, E. W; fleur-de-lys below in shield. 
Edward Winslow. Boston. 1669-1753. 

91 NUTMEG-GRATER. 

Mark, I T in rectangle. 

92 SUGAR TONGS. 

Mark, C St in oval. 

34 



COLONIAL ART 

93 SUGAR TONGS. 

Engraved S. S. P. in monogram. Mark, REVERE in 
rectangle. 

Paul Revere. Boston. 1735-1818. 

94 STRAINER. 

H 

Engraved B H on bowl. Mark, D:P in rectangle. 
Daniel Parker. Boston. 1727-1786. 

95 CAN. 

Mark, Minott in rectangle. 

Samuel Minott. Boston. 1 732-1803. 

96 CAN. 

Engraved H. on body, E L on bottom. Mark, R. 
GREENE in shaped rectangle. 
Rufus Greene. Boston. 1707-1777. 

97 SMALL CAN. 

Mark, B. Burt in rectangle. 

Benjamin Burt. Boston. 1729-1804. 

98 STRAINER. 

Mark, REVERE in rectangle. 
Paul Revere. Boston. 1735-18 18. 

99 SUGAR SCISSORS. 

Engraved N L near centre. Mark, HURD in rectangle. 
Jacob Hurd. Boston. 1702-1758. 

100 DRAM CUP. 
P 

Engraved S M on bottom. Mark, B S in square. 
Bartholomew Schaats. New York. 1670- 1720. 

loi CUP. 

Engraved A B 1674. Mark, H B, monogram in shield. 
Hendrik Boelen. New York. 1755. 

102 DRAM CUP. 

Mark E. W; fleur-de-lys below in shield. 
Edward Winslow. Boston. 1 669-1 753. 

103 SUGAR SCISSORS. 

NB 

Engraved C in centre. Mark, D T in rectangle. 
David Tyler. Boston. About 1 760-1 804. 

35 



THE CLEVELAND MUSEUM 

ENGLISH COLONIAL SILVER 
Lent by Mr. Hervey E. Wetzel. 

104 BOWL. 

Engraved with crest: unicorn's head on a crown. 
EngHsh. George I. 1723. 

105 SAUCEBOAT. 

On three feet. Date mark much worn; appears to be a W, 
which may mean 1767 or 1792, as that letter was used in 
both these years. 
Irish. George III. 

106 CANDLESTICK. 

Columnar. Maker, I. W. & Co. Pair to No. 107. 
English. Sheffield. George III. 1779. 

107 CANDLESTICK. 

Columnar. Maker, I. W. & Co. Pair to No. 106. 
English. Sheffield. George III. 1779. 

108 SALVER. 

Scalloped edge, on four feet. Maker's mark, D. L. En- 
graved underneath 

D. lohn Norton, 

I.M. 
English. George II. 1736. 

109 SALTCELLAR. 

Maker's mark E. W. in Gothic letters. 
English. George II. 1739. 

no COFFEEPOT. 

English. London. Queen Anne. 1706. 

111 CHALICE. 

Beaker-shaped. Engraved with the Last Supper, a coat-of- 
arms and the words, "Dit is Sonwerder Kerck Beecker 
Anno 1723." Maker's marks, one illegible, one a shield 
bearing 4 over B. 

Dutch. XVIII Century. 

112 CANDLESTICK. 

Engraved on side of foot Z. L. M. Pair to No. 1 13. 

113 CANDLESTICK. 

Engraved on side of foot Z. L. M. Pair to No. 112. 

36 



COLONIAL ART 

114 CREAM JUG. 

Maker's mark W. I. 

English. London. George I. 17 18. 

115 CANDLESTICK. 

Crest engraved on foot. Pair to No. 116. 
English. London. George L 1725. 

116 CANDLESTICK. 

Crest engraved on foot. Pair to No. 115. 
English. London. George I. 1725. 

117 CUP AND COVER. 

The cup engraved with a coat-of-arms, the cover with a 
crest. 

English. London. Queen Anne. 171 1. 

118 SALVER. 

On four feet. With scalloped sides. Engraved on face with 
shield of arms. On the back, George Shergold, Dec. 21, 
1730. 
English. George II. 1730. 

119PEPPERPOT. 

English. London. George III. 1782. 

lao CAKE BASKET. 

Pierced and repousse. Engraved with a crest on the bot- 
tom. 

English. London. George II. 1759. 

121 SALVER. 

Square, with rounded corners. On four feet. Engraved on 
face with a coat-of-arms. Maker's mark, G. H. 
English. London. George II. 1732. 

122 CUP. 

Engraved in the style of Peter Flotner. 
English. London. Charles I. 1629. 

123 SUGAR CASTER. 

Engraved with a coat-of-arms and coronet. Marked with 
a lion rampant passant, an illegible cipher and M. G., 
H. S., D. in separate stamps. Foreign plate mark, 1887, 
London. 

37 



THE CLEVELAND MUSEUM 



124 STATUE OF GEORGE WASHINGTON. 

Bronze. Replica of the statue in marble by Houdon (1741- 
1828) in the capitol, Richmond, Virginia. 
Lent by the Gorham Company. 



ALEXANDER, Francis. 
Born in Connecticut, 1800. Died in Italy, 1881. Self- 
taught, he became an itinerant portrait painter. Settling 
in Boston at Gilbert Stuart's invitation he became known. 
In 1 83 1 he went to Rome, returning in 1833 to Boston 
where he lived until he retired to Italy. 

125 Portrait of Frederic Tudor. 

Lent by Mrs. Frederic Tudor. 

ALLSTON, Washington, A. R. A. 
Born at Waccaman, S. C, 1779. Died at Cambridgeport, 
Mass., 1843. Pupil of Malbone. Graduated at Harvard 
College in 1800 and the next year entered the schools of 
the Royal Academy in London. In 1804 he went to Paris 
and thence to Rome where he spent four years. He revis- 
ited America but settled in London in 181 1. He was elect- 
ed an Associate of the Royal Academy in 18 18 and re- 
turned to Boston in the same year where he remained 
until 1830 when he moved finally to Cambridgeport. 

126 Paul and Silas in Prison. 

Lent by the City Art Museum, St. Louis. 

COPLEY, John Singleton, R. A. 
Born in Boston, Mass., 1739. Died in London, England, 
18 15. He painted with increasing success in his native 
city until 1774, when he went to Rome. In 1775 he settled 
in London. Elected Associate of the Royal Academy in 
1776; Academician in 1779. 

127 Portrait of Mrs. John Greene. Catherine, daughter of 
Governor William Greene of Rhode Island, and wife of 
John Greene of Boston. Signed, and dated 1769. In a 
frame said to have been carved by Paul Revere. 

38 



COLONIAL ART 

128 Portrait of Nathaniel Hurd. Silversmith and engraver, of 
Boston. 

The John Huntington Collection. 

129 Portrait of Mrs. Abigail Bloomfield Rogers. 

Lent by Miss A. P. Rogers. 
DUNLAP, William. 
Born at Perth Amboy, N. J., 1766. Died, 1839. Began 
painting as a youth. Studied in London with Benjamin 
West in 1784 with small results. On his return to America 
he failed to achieve success as a portrait painter though 
he continued in his intervals of other avocations to occupy 
himself with the arts during the rest of his hfe. 

130 Portrait of Mrs. Thomas Apthorp Cooper. 

Lent by Mr. William Macbeth. 

131 Scene from "Harry Birch." 

Lent by Mr. Albert Rosenthal. 
EARL, or Earle, Ralph, R. A. 
Born at Lebanon, Conn., about 1751. Died at Bolton, 
Conn., 1 801. Self-taught, he was an itinerant portrait 
painter. Went to London after the Revolutionary war 
and studied under Benjamin West. He was made a mem- 
ber of the Royal Academy. Returned to the United States 
in 1786. 

132 Portrait of Mary Carpenter. 

Lent by the Worcester Art Museum. 
ELLIOTT, Charles Loring, N. A. 
Born at Auburn, N. Y., in 18 12. Died at Albany in 1868. 
Advised and assisted by Trumbull. Became an itinerant 
portrait painter. In 1845 he settled in New York where he 
lived and worked successfully. 

133 Portrait of Tompkins Matteson. 

Lent by Mr. William Macbeth. 
HARDING, Chester. 
Born at Chester, Mass., 1792. Died at Boston, 1866. Self- 
taught. Studied for a short time in the Academy of Phila- 
delphia. By 1823 he had made enough money by his art 
to take him to England and was for a while very success- 
ful there. He returned to Boston in 1826 and painted most 
of the prominent persons of the day. 

134 Portrait of Mrs. Thomas Brewster Coolidge. 

Lent by Mr. Baldwin Coolidge. 

39 



THE CLEVELAND MUSEUM 

HEALY, George Peter Alexander. 
Born at Boston, Mass., 1813. Died at Chicago, 111., 1894. 
Studied in Paris in 1836; went to Chicago in 1858. In 1869 
he revisited Europe, and resided in Rome for some years. 

135 Portrait of Himself, painted in 1852. 

The John Huntington Collection. 

HUNTINGTON, Daniel, N. A. 
Born in New York in 1 8 16. Died 1906. Pupil of Morse and 
Inman. Three timesPresidentof the National Academy of 
Design. 

136 Dr. John W. Francis. 

Lent by Mr. William Macbeth. 

INMAN, Henry, N. A. 
Born at Utica, N. Y., in 1801. Died in New York, 1846. 
In 1 8 14 was apprenticed to Jarvis, who took him on many 
trips about the country. On the expiration of his term he 
settled in New York and assisted in the foundation of 
the Academy of Design, of which he became the first Vice- 
President. He removed to Philadelphia in 1832 and was 
for a time most successful there, but later returned to 
New York. He was assisted to visit England in 1845 by 
some friends who commissioned him to paint portraits 
of Wordsworth, Macaulay and others. His health failing, 
he returned to New York only to die. 

137 Portrait of WiUiam Inman. 

Lent by Mr. Albert Rosenthal. 

JARVIS, John Wesley. 
Born at South Shields in 1780. Died in 1834. Brought to 
America as a child. Chiefly self-taught as a painter. 

138 "Old Pat." 

Lent by Mr. Albert Rosenthal. 

JOUETT, Matthew Harris. 
Born in Mercer Co., Ky., 1783. Died at Lexington, Ky., 
1827. Educated a lawyer, he served in the war of 18 12 and 
at its close in 1814 opened a studio in Lexington. In 18 16 
he studied for four months under Stuart at Boston. He 
painted more than three hundred portraits. 

139 Portrait of J. G. McKinney. 

Lent by Mr. William Macbeth. 

40 



COLONIAL ART 

MALBONE, Edward G. 
Born at Newport, R. I., 1777. Died at Savannah, Ga., 
1807. At seventeen he established himself as a portrait 
painter at Providence. In 1790 he moved to Boston, 
thence to New York, Philadelphia and Charleston. In 
1 801 he went to England and was urged by West to re- 
main there, but preferred to return to Charleston. His 
health giving way he went to Savannah, where he died. 
His most famous works are miniatures. 

140 Portrait of Himself. 

Lent by the Corcoran Gallery of Art. 

MORSE, Samuel F. B., N. A. 
Born at Charleston, Mass., 1791. Died in New York, 
1872. Pupil of Washington AUston. Inventor of the Morse 
Telegraphic System. 

141 Portrait of Moss Kent. 

Lent by the Copley Gallery. 

MOUNT, William Sidney, N. A._ 
Born at Setauket in 1807. Died in New York, 1868. Began 
as a scene-painter. Practiced his art in New York from 
1829 to 1868. 

142 Portrait of Martin Van Buren. 

Lent by Mr. William Macbeth. 

NEAGLE, John. 
Born in Philadelphia, Pa., 1799. Died 1865. Apprenticed 
to a coach painter, at nineteen he devoted himself to the 
study of his art. He settled in New Orleans; married a 
daughter of Thomas Sully, whose pupil he had been; 
returned to Philadelphia and spent the rest of his life 
there. 

143 Portrait of M. L. Hurlburt, Esq. Dated 1840. 

The John Huntington Collection. 

OTIS, Bass. 

Born in 1784. Died in 1861. 

144 Portrait of Miss Latrobe. 

Lent by Mr. Albert Rosenthal. 

41 



THE CLEVELAND MUSEUM 

PEALE, Charles Willson. 
Born at Chestertown, Md., 1741. Died at Philadelphia, 

1827. Was apprenticed to a saddler in Annapolis, but took 
lessons from an English painter to whom he gave a saddle 
in payment. He went to Boston in 1768 and was encour- 
aged by Copley. A number of gentlemen of Annapolis 
raised a sum of money as a loan, with which he went to 
London in 1760 with letters to West. The kindly Quaker 
painter received him warmly and even took him into his 
own house when his funds ran low. Peale returned to 
Annapolis in 1774 and went to Philadelphia two years lat- 
er to join Washington's army. In 1779 he returned to 
Philadelphia and represented that city in the Pennsyl- 
vania legislature. During all this he never gave up his 
art. In 1805 he was instrumental in founding the Penn- 
sylvania Academy of Fine Arts. 

145 Portrait of George Washington. 

Lent by Mrs. George Reuling. 

146 Portrait of Mrs. David Forman and Child. 

Lent by Messrs. Knoedler and Company. 

147 Portrait of Col. Tench Tilghman, Aide-de-Camp of Gen. 
Washington. 

Lent by Mr. Albert Rosenthal. 

PEALE, Rembrandt. 
Born in Bucks County, Penn.,1778. Died in Philadelphia, 
i860. Son of Charles W. Peale. (q.v.) Set up as a por- 
trait painter in Charleston, S. C, in 1796. Studied in Eng- 
land under West from 1801 to 1804, returning to Phila- 
delphia in 1809. 

148 Portrait of Gen. George Washington. Crayon. 

The Hinman B. Hurlbut Collection. 

STUART, Gilbert. 
Born at Narragansett, R. I., 1755. Died in Boston, Mass., 

1828. He was taught painting in New York by a Scotch- 
man, Cosmo Alexander, with whom he finally went to 
Glasgow in_i772. In 1775 he was again in Great Britain, 
where Benjamin West took him under his protection, 
employed him as assistant, and introduced him to the 

42 



COLONIAL ART 

London public. He returned to the United States in 1792, 
and worked successively in New York, Philadelphia, 
and Washington, finally settling in Boston. 

149 Portrait of Jonathan Amory. 

Lent by Messrs. R. C. and N. M. Vose. 

150 Portrait of Bishop Hobart. 

Lent by Mr. WiUiam Macbeth. 

151 Portrait of George Washington. 

152 Portrait Sketch of Sir Henry Clinton. 

153 Portrait of Miss King. 

154 Portrait of Mr. Wolcott. 

Lent by Mr. Albert Rosenthal. 

155 Portrait of George Washington. 

Lent by Mr. Jonce L McGurk. 

SULLY, Thomas. 
Born at Horncastle, Lincolnshire, England, 1783. Died at 
Philadelphia, Pa., 1872. Came to Charlestown as a child in 
1792; removed to New York in 1806, and thence to Boston 
in 1808, where he studied under Gilbert Stuart. In 1809 he 
went to London and worked with Benjamin West, return- 
ing and setthng in Philadelphia, in 18 10. He revisited 
England in 1837, and painted a portrait of Queen Vic- 
toria. 

156 Portrait of Captain Jean T. David. 

157 Portrait of Mrs. Mary Sicard David. 

The John Huntington Collection. 

158 Domesticity. 

Lent by Mrs. Orrel A. Parker. 

TRUMBULL, John. 
Born at Lebanon, Conn., 1756. Died at New York, 1843. 
Son of Jonathan Trumbull, the Colonial Governor of Con- 
necticut. Graduated at Harvard. Served in the Revolu- 
tionary war, attaining the rank of Colonel and was 
aide-de-camp to Washington. In 1777 he resigned from 
the army and went to London to study under West, 
returning home in 1782. In 1794 he accompanied John 

43 



THE CLEVELAND MUSEUM 

Jay to England as Secretary of Legation. He settled in 
New York in 1804 as a portrait and historical painter. 
Was President of the Academy of Fine Arts from 18 16 

to 1825. 

159 Portrait of George Washington at Trenton. 

Lent by Mrs. George Reuling. 

160 Portrait of Gen. Ebenezer Huntington. 

Lent Anonymously. 

VANDERLYN, John. 
Born at Kingston, N. Y., 1776. Died there, 1852. Pupil 
of Gilbert Stuart. Studied in Paris from 1796 to 1801 and 
continued to live and paint there from 1803 to 18 15. Re- 
ceived a gold medal in the Salon of 1807 from Napoleon L 
On his return to the United States in 18 15 he settled in 
New York. 

161 Portrait of Capt. Charles Sargent. 

Lent by Mr. George H. Ainslie. 

WEST, Benjamin, P. R. A. 
Born at Springfield, Penna., 1738. Died in London, Eng- 
land, 1820. A Quaker, self-taught as a painter. He set up 
as a portrait painter in Philadelphia in 1756. Removed 
to New York and in 1760 went to Italy where he remained 
for three years. In 1763 he settled in London where he 
enjoyed great success. George III made him his his- 
torical painter in 1772. He was an original member of 
the Royal Academy in 1768 and its President in 1792, 
resigning the office in 18 15. His chief contribution to the 
progress of his art was the abandonment of classic for 
contemporary costume in the representation of historical 
subjects. He showed immense kindness to those of his 
fellow countrymen who went to Europe to study art, and 
almost every one of them who became of importance owed 
much to his teaching. 

162 Portrait of Joseph Shippen. 

Lent by Mr. Prescott Huidekoper. 

163 Portrait of the Duke of York. 

Lent by Messrs. R. C. and N. M. Vose. 

44 



GALLERY II— GOTHIC ART 



GOTHIC, although a misnomer, is too firmly established, as 
- the description of a style in art, to be abandoned now. It is 
used to describe the art of the period which intervened 
between the decline of Byzantine and Romanesque, and the rise of 
Renaissance Art in Europe. Not that either the beginning or end 
of these, or any other periods in the arts, is an absolutely fixed date 
or is contemporaneous in all the countries in which they appear. 
Revolutions in art, as in other human activities, occur rarely, and 
progress is usually achieved by the almost insensible melting of 
one phase into another. 

It may safely be assumed that this splendid art had its birth 
in France, at a time when even in Italy, art was at its lowest ebb. 
There is, at least, no doubt that this is true of Gothic sculpture. 
Nicola Pisano's famous Pisan pulpit was executed in 1260, and 
Guido da Como's at Pistoja perhaps in 1250, but by this time the 
church of St. Denis had been built in 1 137, the Porch of St. Anne 
of Notre Dame, Paris, had been carved in about 1200; the cathe- 
drals of Chartres begun in 1194, Laon in 12 10, Rheims in 121 1, 
Amiens in 1215, and the Ste. Chapelle of Paris, esteemed the cul- 
minating effort of French Gothic, was consecrated in 1248. Since, 
during this period, sculpture was more closely allied with archi- 
tecture than any other in the history of art, except the Assyrian 
and Egyptian, these dates enable us to follow its growth and prog- 
ress with satisfactory certainty. The art as a whole was essen- 
tially, though not exclusively, ecclesiastical, — ^that is to say, the 
cathedral is its most complete expression, and it was carried by 
priests into the rest of Europe. 

French architects built the existing cathedral of Canterbury 
in 1 174, and the other great English Gothic cathedrals followed, 
Salisbury from 1220 to 1258, and Westminster from 1245 to 1269, 
being among the latest. 

Gothic art was introduced into Germany in 1209, and Italy 
toward the end of the Thirteenth century, in the same manner 
and by the same means; French crusaders carried it even to Cyprus 
and Syria. 

45 



THE CLEVELAND MUSEUM 

In France sculpture developed concurrently with the archi- 
tecture from the end of the Eleventh to the end of the Twelfth 
century, culminating in the first half of the Thirteenth. By the Fif- 
teenth century the first burst of religious enthusiasm had exhaust- 
ed itself, and while the art was more skilful technically, it was less 
inspired. As early as the beginning of the Fifteenth century, the 
influence of the Italian Renaissance made itself felt throughout 
Europe, and Gothic art slowly gave way before it. It developed 
rather more suddenly than it waned, but by 1500 or shortly there- 
after, had given way before the Renaissance, even in England 
where it lingered longest in domestic architecture. 

The civil and foreign wars, culminating in the defeat at Agin- 
court in 141 5, temporarily ruined the French monarchy and its 
capital, the city of Paris. The arts fled to Burgundy and Flanders, 
where the power of the Dukes and the prosperity of the great trad- 
ing cities offered them a safe refuge, and the latest flowers of Gothic 
art are Flemish. 

French Gothic sculpture was in many senses more truly an 
art of renaissance than that of Italy, which it antedates. Nowhere 
in Europe for over a thousand years had any sculpture been made 
such as is to be found at Rheims, if any of it survives the recent 
destruction; this dates from about 1250. Indeed, Roman art, which 
comes nearest to it in point of time, is not to be compared with it 
in quality. The art with which it has the closest affinity is Greek, 
of the Fifth century B.C., say from 500 to 450, though it hardly is 
to be believed that the French ijjiagiers were familiar with Greek 
originals. Even in its earliest phases, in the South and East, it be- 
trayed a strong tendency toward realism, and this is a character- 
istic note of its progress, even at the time when it devoted itself 
to the representation of the most sacred subjects. Viollet le Due, the 
great French authority on this subject says: "The fertility of the 
arts of the Thirteenth century, particularly of its sculpture, was 
prodigious. Even today after more than six centuries of devastation 
and neglect, more examples of medieval sculpture remain in France 
than in all the rest of Europe together. From the middle of this 
century, works of the highest class abound not only in the cathe- 
drals and public buildings, but small churches and even private 
houses, were embellished with works of art of excellent execution 
and irreproachable in style. The artists must have gone everywhere, 
and sculpture seems to have been an art of the first necessity." 

46 



GOTHIC ART 

1 TAPESTRY. 

Millefleurs; with figures of Louis de Beaufort, Lord of 
Aubusson and Jeanne, his wife, with their coat-of-arms. 
Woven for their marriage in 1426. 

French. XV Century. 

Lent by the Messrs. Duveen. 

2 GROUP: OLD MAN AND OLD WOMAN. 

Wood, colored and gilt. 

Flemish. Late XV Century. 
Lent by Mrs. Chauncey J. Blair. 

3 YOUNG GIRL. 

Half length. Stone, colored. 

French. School of Champagne. Late XIV or early XV 

Century. 

Lent by Mrs. Chauncey J. Blair. 

4 TAPESTRY. 

From the same series as No. i. 
French. XV Century. 
Lent by Mrs. Stephen Pell. 

5 COPE. 

Cut velvet, violet with an apricot ground. The orphreys 
of needlework in silk, gold and silver show tiers of saints 
in niches. 

Lent by Mrs. Chauncey J. Blair. 

6 FRAGMENT. 

Stone. 

French. Late XVI Century. 
Lent by Mrs. Chauncey J. Blair. 

7 CARVED CHEST. 

Wood. From the Sacristy of Chartres Cathedral. 
XV Century. 
Lent by Mrs. Chauncey J. Blair. 

8 ST. SEBASTIAN. 

Stone. From a castle in Touraine. 
French. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

47 



THE CLEVELAND MUSEUM 

9 CHOIR OF ANGELS. 

Marble, with traces of gilding. 
French. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

10 TAPESTRY. 

The Crucifixion, with other episodes of the Passion and 
the Resurrection. 

Brussels. End of the XV Century. 

Lent by Messrs. P. W. French and Company. 

11 VIRGIN AND CHILD. 

Stone. 

French. XV Century. 

Lent by Mrs. Chauncey J. Blair. 

12 VIRGIN AND CHILD BENEATH A CANOPY. 

Stone. From the Cathedral of Tournai. 
Flemish. XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

13 CUT VELVET. 

Green with a primrose ground. 
Lent by Mrs. Chauncey J. Blair. 

14 GROUP FROM A CRUCIFIXION. 

Wood. 
Lent by Mrs. Chauncey J. Blair. 

15 RELIEF: THE VIRGIN AND ST. ELIZABETH. 

Wood. 

Flemish. Late XV Century. 
Lent by Mrs. Chauncey J. Blair. 

16 PANEL. 

Wood, carved with Flamboyant tracery in relief. 
French. XVI Century. 
Lent by Mrs. Chauncey J. Blair. 

17 VIRGIN AND CHILD. 

Wood. The heads are restorations, the pedestal of later 
date. 

French. XII Century. 

Lent by Mrs. Chauncey J. Blair. 

48 



GOTHIC ART 

1 8 VELVET BROCADE. 

Violet, with a cloth-of-gold ground. 
Italian. XVI Century. 
The John Huntington Collection. 

19 TAPESTRY. 

The Prophecy of Nathan. 
Brussels. About 1500 A. D. 
Lent by Mr. Edward A. Faust. 

20 STATUETTE. 

Wood. Man Lamenting. 
German. XVI Century. 
Lent by Mrs. Chauncey J. Blair. 

21 CREDENCE. 

Wood. 

XV Century. 

Lent by Mrs. Chauncey J. Blair. 

22 STATUE. Donatrix: A Queen. 

French. XIV Century. 

Lent by Mr. Dikran G. Kelekian. 

23 CASSONE. 

Wood. Carved, painted and gilt. The panels show traces 
of shields of arms. Half of the front opens as a door, dis- 
closing three drawers. The centre panel of the front and 
the fronts of the drawers are carved with Flamboyant 
Gothic tracery. The inside has been painted; much of 
this remains on the lid. 

North Italian. Probably late XV Century. 

The John Huntington Collection. 

24 VIRGIN AND CHILD. 

Wood, with traces of color. 
French. XII Century. 
Lent by Mr. Henry Golden Dearth. 

25 COLUMN. 

Stone. 

Lent by Mrs. Chauncey J. Blair. 
49 



THE CLEVELAND MUSEUM 

26 SILK BROCADE. 

Crimson and silver. Fragment of a border, woven with the 
Assumption of the Virgin twice repeated. These borders 
were woven for vestments and altar furniture. 

Italian. XVI Century. 

Lent by Mrs. Chauncey J. Blair. 

27 TAPESTRY. 

Millefleurs. 

French XVI Century. 

Lent by Messrs. P. W. French and Company. 

28 STAINED GLASS. 

French. Early XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

29 MOURNER: FIGURE FROM A TOMB. 

Marble. 

Burgundian. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

30 KNIGHT IN ARMOR. 

Wood. 

Flemish. XV Century. 

Lent by Mrs. Chauncey J. Blair. 

31 BRACKET. 

Stone. 

French. Late XV Century. 
Lent by Mrs. Chauncey J. Blair. 

32 VIRGIN AND CHILD. 

Stone, with traces of color. 

French. He de France. Late XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

33 FRONT OF CHASUBLE. 

Cut velvet. Crimson. 

Lent by Mrs. Chauncey J. Blair. 

34 BRACKET. 

Stone. 

French. Early XV Century. 
Lent by Mrs. Chauncey J. Blair. 

35 ST. MICHAEL. 

Wood. 

Flemish. XV Century. 

Lent by Mrs. Chauncey J. Blair. 

50 



GOTHIC ART 

36 BRACKET. 

Stone. 

French. Late XV Century. 
Lent by Mrs. Chauncey J. Blair. 

37 MOURNER: FIGURE FROM A TOMB. 

Marble. 

Burgundian. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

38 IRON GRILLE. 

French. XIII Century. 

Lent by Mrs. Chauncey J. Blair. 

39 STAINED GLASS. 

French. Early XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

40 DOpR. 

With carved panels. 
Late XV Century. 
Lent by Mrs. Chauncey J. Blair. 

41 DOOR AND FRAME. 

Wood. 

Probably French. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

42 STATUE. 

Wood, carved and painted. St. Martin. 
Flemish. XVI Century. 
The John Huntington Collection. 

43 TAPESTRY. 

St. Ursula and the Eleven Thousand Virgins setting sail 
from Britain. 

German. End of the XV Century. 

Lent by Messrs. P. W. French and Company. 

44 TAPESTRY. 

St. Ursula and the Eleven Thousand Virgins martyred by 
the Huns in Cologne. 

German. End of the XV Century. 

Lent by Messrs. P. W. French and Company. 

51 



GALLERY III— RENAISSANCE ART 



THE dawn of the Renaissance came in Italy in the first half 
of the Thirteenth century. What may be called a false dawn 
foreshadowed the day, in Apulia in 1240, in the shape of a 
small school of sculptors and medallists, but the date from which it 
is customary to reckon is 1260, when one of these Apulian artists, 
Nicola Pisano, as he was afterward called, set up in the Baptistery 
of Pisa a Gothic pulpit the bas-reliefs of which are full of antique 
influence. He was, however, an individual genius, and his son 
Giovanni was a pure realist of the Gothic school, the first to prac- 
tice this form of art in Italy. 

The revival in painting took place in Siena, where Duccio, 
1255-1319, was the first to attempt a departure from Byzantine 
formality. Some of his immediate successors were even better 
painters than he, but the school was not destined to a long life. 

The first great Florentine painter, Giotto, was in every way 
the superior of these Sienese artists. He died in 1336, and left 
behind him a flourishing school whose influence pervaded all Italy. 
Donatello, 1386-1466, and Masaccio, 1401-1428, set the example 
in a movement towards nature, which saved Florentine art from 
the insipidity towards which the Giottesque school was tending. 
This reaction led by way of Verrocchio 1435-1488, and Signorelli, 
1441-1523, to Lionardo da Vinci, and Michelangelo, 1475-1564, 
with whom and Raphael, 1483-1520, the Renaissance culminated. 

The art of the Renaissance in Italy was by no means confined to 
Florence. Every city of consequence in the peninsula had its school, 
and some of them were as important as the Florentine. Chiefest 
among them was the Venetian. This school rose to prominence 
somewhat late. The first of its great masters was Giovanni Bellini, 
1430-1516. He lived eighty-six years, and has been well-described 
as a school in himself rather than a single painter. Giorgione, 1478- 
15 10, was his pupil, and the greatest of the Venetians, Titian, 
1490-1575, studied with them both. Tintoretto, 15 18-1595, and 
Paolo Veronese, 1528-1588, complete the roll of the Venetian 
giants of the Renaissance, though Tiepolo, 1696-1770, carried on 
the tradition later here than elsewhere in Italy, or even in the rest 
of Europe. 

S3 



THE CLEVELAND MUSEUM 

Renaissance architecture in Italy, properly so-called-^that 
is to say, a conscious imitation of classical work — may be said to 
have begun with Brunelleschi, 1377-I444, and Bramante, 1444- 

1514- 

An independent Renaissance has with some justice been 

claimed for Flanders, where in the beginning ot the Fifteenth 
century, a few sculptors and many painters were, in some respects, 
more advanced than the Italians, but the rest of Europe was con- 
tent to learn of Italy. Germany produced Durer, 1471-1528, and 
Holbein, 1497-1543, both of whom studied in Italy, and the great 
French artists of this period, Pilon and Goujon, were Italianate. 

In the Seventeenth century Spain took up the torch which 
was slipping from the grasp of Italy, and Velasquez, 1 599-1666, 
was the great painter of that day. 

This supremacy was not uncontested in the north, where the 
Dutchmen, Hals, 1 581-1666, Rembrandt, 1606-1669, and Rubens, 
1 577-1640, carried their art to a point unsurpassed even by the 
great Spaniard. 

Rubens and his pupil Van Dyck, 1599-1631, although for- 
eigners, were really the fathers of English painting; still, before 
their arrival a few gifted miniaturists had reflected in the British 
Isles the glories of continental art. 

For convenience the art of the Eighteenth century is grouped 
with that of the Renaissance, properly so-called, and in one sense 
there has been no lack of continuity, although even in Italy (with the 
exception of Venice, as has been noted) the great tradition had been 
utterly lost. With the exception of Goya, 1 746-1826, in Spain, 
Eighteenth century art is French and English. Watteau, 1684- 
1721, Fragonard, 1732-1886, and Houdon, 1741-1828, the sculptor, 
were the greatest of the Frenchmen, while Hogarth, 1697-1764, 
Reynolds, 1732-1792, Gainsborough, 1727-1788, and Romney, 1734- 
1802, worthily bore aloft the English standard. Despite the un- 
questioned merits of Raeburn and Lawrence the tradition failed 
in England soon after the death of the latter in 1830, and though 
David, 1748-1825, and Prudhon, 1758-1823, worked in the Eigh- 
teenth century manner into the first quarter of the Nineteenth, 
modern art, so far as one may be allowed these arbitrary different- 
iations, may be said to have begun with the fall of the Empire in 
France. 

The minor arts of the Renaissance group themselves naturally 
under the major. Furniture was more than ever architectural; 

54 



RENAISSANCE ART 

tapestry, the arts of the weaver and of the embroiderer were con- 
trolled by painting; and armor, goldsmithing and jewelry were not 
infrequently the work of the sculptor himself. So it is that until 
quite the end of the period a general knowledge of the three great 
arts enables us to date other works of art with reasonable precision. 
Not, of course, that the objects of common life were all the work 
of artists, but that the people, in our modern sense of the word, 
had little or nothing to do, except as producers, with art, which was 
the prerogative of the great and wealthy. The relics which have 
survived to our day are the casque of this great leader, or the neck- 
lace of that princess, a royal couch or a noble's wall hangings, and 
these were designed and often executed by the greatest artists of 
the day. Toward the end of the Seventeenth century, chiefly at the 
luxurious court of Louis XIV, there came to the front a class of 
artisans whose talents have raised them to the rank of artists. 
They devoted themselves entirely to the designing and making of 
household furniture and objects of luxury for the monarch and his 
nobles. During the Eighteenth and Nineteenth centuries this taste 
spread from France to the rest of Europe, and the names of Boule, 
Caffieri, Gouthiere, and Roentgen, Chippendale, Adam, Heppel- 
white and Sheraton, are as famous as those of any^of the other 
artists of their day. 

1 SILK BROCADE. 

On a crimson ground, an ogee pattern with flowers in blue 
and gold. 

Italian. XVI or XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

2 TAPESTRY. 

Silk and gold. The Burning of the Numidian Camp. An 
episode of the Second Punic war under Scipio Africanus. 
From a cartoon by Giulio Romano. 

Early XVI Century. 

Lent by Messrs. P. W. French and Company. 

3 CHAIR. 

Walnut. Seat covered with red velvet. Louis XIV style. 
English or French. XVII Century. 
The John Huntington Collection. 

55 



THE CLEVELAND MUSEUM 

4 BEDSTEAD. 

Wrought iron. With four posts, a canopy and head-piece. 
Italian. XVII Century. 
Purchased from the Dudley P. Allen Fund. 

5 BEDSPREAD. 

Gold and silver and green silk brocade. 
Italian. XVII or XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

6 CHAIR. 

Walnut. Seat covered with red velvet. Louis XIV style. 
English or French. XVII Century. 
The John Huntington Collection. 

7 RELIEF. 

Stone. Madonna and Child. 

French. XVI Century. Showing Italian influence. 
Lent by Mrs. Chauncey J. Blair. 

8 TABERNACLE. 

Marble, colored and gilt. 
Italian. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

9 TAPESTRY. 

Joseph Sold by his Brethren. From the Rospigliosi Col- 
lection. 

Brussels. XVI Century. 

Lent by Messrs. P. W. French and Company. 
lo PORTION OF THE WALNUT PANELING OF A 
SACRISTY, OR OF A CHOIR. 
Five panels separated by six pilasters surmounted by a 
cornice. The panels, the styles round them and the frieze 
are ornamented with intarsia work. The panels contain: 
one, the Resurrection; the four others, decorative arrange- 
ments of palms and lilies in two, olives and pinks in others. 
In all four is the Medici badge of a jewelled ring wound 
with a ribbon or bannerole, on which is inscribed the 
motto Semper. The frieze contains part of a quotation in 
the Vulgate from Paul's epistle to the Romans, Chapter 
XL 

Florentine. XVI Century. 

The John Huntington Collection. 

56 



RENAISSANCE ART 

11 BAS RELIEF. 

Marble. Infant St. John. Donatello 1386-1466. From the 
Horace Walpole and Dilke Collections. 

Florentine. 

Lent by a trustee of Sir Charles Dilke's Estate. 

12 RELIEF. 

Terra-cotta. Madonna and Child. 
Donatello. 1383-1466. 
Lent by Mrs. Chauncey J. Blair. 

13 ARMCHAIR. 

Walnut. Tooled leather seat and back, restored. 
Italian or French. XVII Century. 
The John Huntington Collection. 

14 MIRROR FRAME. 

Wood carved, painted and gilt. • 
Itahan. XVII Century. 
The John Huntington Collection. 

15 RELIEF. 

Stucco. Madonna and Child. 
Rossellino. 1428-1478. 
Lent by Mrs. Chauncey J. Blair. 

16 ARCHITECTURAL WOOD CARVINGS. 

French. Regence. XVIII Century. 
Lent by Mrs. Chauncey J. Blair. 

17 ARMCHAIR. 

Walnut. Tooled leather seat and back, restored. 
Italian or French. XVII Century. 
The John Huntington Collection. 

18 TAPESTRY. 

La Diseuse de Bonne Aventure (The Fortune Teller). 
From a cartoon by Francois Boucher. 

French. Beauvais. 

Lent by the Messrs. Duveen. 

19 SIDE TABLE. 

Walnut. 

Itahan. XVI Century style. 
The John Huntington Collection. 

57 



THE CLEVELAND MUSEUM 

20 PAIR OF KNEELING ANGELS. 

Wood carved and gilt. 
Florentine. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

21 LECTERN. 

Wood and gesso. Probably originally gilt. At the back of 
the book-rest are the arms of Pope Alexander VII, who 
was of the Chigi family. 

Italian. Barocco. XVII Century. 

The John Huntington Collection. 

22 RELIEF. VIRGIN AND CHILD. 

Terra-cotta. Delia Robbia. 
Florentine. XV Century. 
Gift of Mrs. Liberty E. Holden. 

23 TRIPOD BRAZIER. 

Wrought iron and copper. 
Italian. XV Century. 
Purchased from the Dudley P. Allen Fund. 

24 TAPESTRY. 

Daphnis and Chloe. Woven by Michel Audran from a 
cartoon by Etienne Jeaurat. 

Gobelins. XVIII Century. 

Lent by Messrs. P. W. French and Company. 

25 BUFFET. 

Wood. 

Italian. XVII Century style. 
The John Huntington Collection. 

26 BUST. 

Marble. Francesco Gonzaga as a child. Gian Cristoforo 
Romano. 1 465-15 12. 

Lent by Sig. A. Canessa. 

27 STATUETTE. 

Bronze. Venus and Cupid. 

Alessandro Vittoria. 1 525-1 608. 
Lent by Sig. A. Canessa. 

58 



RENAISSANCE ART 

28 RELIEF. 

Marble, with traces of color. Pieta. Probably by a Flemish 
artist. 

Spanish 1 500-1 530 A.D. 

Gift of Mr. Jacques Seligman. 

29 RELIEF. 

Glazed terra-cotta. St. John. 
School of Delia Robbia. 
Lent by Mrs. Chauncey J. Blair. 

30 STATUETTE. 

Bronze. Venus and Cupid. 

Alessandro Vittoria. 1525-1608. 
Lent by Sig. A. Canessa. 

31 TAPESTRY. 

Daphnis and Chloe. Woven by Michel Audran from a 
cartoon by Etienne Jeaurat. 

Gobelins. XVIII Century. 

Lent by Messrs. P. W. French and Company. 

32 LEAF FROM A CHOIR BOOK. 

Illuminated initial "S" in gold and color. 
Italian. XV Century. 
Lent by Mr. Hervey E. Wetzel. 

33 CASSONE. 

Walnut. Paneled; a shield of arms carved on front. 
ItaHan. Late XVI or early XVII Century. 
The John Huntington Collection. 

34 PAIR OF KNEELING ANGEL TORCHBEARERS. 

Wood carved and gilt. 
Venetian. XV Century. 
Lent by Mrs. Chauncey J. Blair. 

35 LAVABO. 

Wrought iron and copper. 
Italian. XVI Century. 
Purchased from the Dudley P. Allen Fund. 

36 RELIEF. 

Glazed terra-cotta. Madonna and Child. 
School of Delia Robbia. 
Lent by Mrs. Chauncey J. Blair. 

59 



THE CLEVELAND MUSEUM 

37 ARMCHAIR. 

Walnut. Velvet covered. 

French. Henri II style. XVI Century. 
The John Huntington Collection. 

38 BALUSTRADE. 

Walnut. In two parts. Perhaps from an altar or the alcove 
of a bedroom. 

Italian. Late XVI Century. 

The John Huntington Collection. 

39 STATUE. KNEELING VIRGIN. 

Terra-cotta. Giovanni Delia Robbia. 1469 — 1530. 
Lent by Mrs. Benjamin Thaw. 

40 CABINET. 

Walnut. In two stories. From the Moreau-Nelaton Col- 
lection. 

French. Henri II style. XVI Century. 

The John Huntington Collection. 

41 BUST. 

Wood carved, painted and gilt. St. Paul. 
South German. About 1500. 
The John Huntington Collection. 

42 PLATE. 

Pesaro ware. Decorated with scene of war between the 
Israelites and the Philistines near Betulia. On the back 
is an inscription with the signature of the artist: 1542 
Fra Gironimo. 

XVI Century. 

Lent by Sig. A. Canessa. 

43 PLATE. 

Urbino ware. Lustred. Decorated with scene of war. On 
the back is an inscription with the signature of the artist, 
"4 de October 1523. Maestro Giorgio da Gubbio." 

XVI Century. 

Lent by Sig. A. Canessa. 

60 



RENAISSANCE ART 

44 PLATE. 

Urbino ware. Lustred. Decorated with a scene of Parnas- 
sus. On the back is the signature of the artist, A. S. (An- 
driolo Sahmbene). 

XV Century. 

Lent by Sig. A. Canessa. 

45 CHASUBLE FRONT. 

Cut velvet. Green ground with pattern in red and silver. 
The John Huntington Collection. 

46 PIETA. 

Florentine School. 1 560-1 570. 

Gift of Mrs. M. L. McBride and Mr. P. R. McCurdy. 

47 SALVATORE ROSA. 

Portrait of Himself. 

The Holden Collection, No. 31. 

48 VELVET BROCADE. 

Crimson pattern on a gold ground. 
French. Late XVII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

49 KNOCKER. 

Bronze. 

Italian. XVII Century style. 
The John Huntington Collection. 

50 FAN. 

Mount, mother-o'-pearl, inlaid with gold and silver. 
Leaf, painted silk, modern. 

French. Louis XV. 

Gift of Mr. and Mrs. J. H. Wade. 

51 FAN. 

Tortoise-shell, carved and decorated with gilding and 
steel inlay. 

French. Empire. 

Gift of Mr. and Mrs. J. H. Wade. 

52 FAN. 

Horn, carved, inlaid with steel. 
French. Empire. 
Gift of Mr. and Mrs. J. H. Wade. 

61 



THE CLEVELAND MUSEUM 

53 FAN. 

Tortoise-shell, carved, decorated with gilding, steel inlay 
and miniature landscapes in color. 

French. Empire. 

Gift of Mr. and Mrs. J. H. Wade. 

54 FAN. 

Horn, carved. 
French. Empire. 
Gift of Mr. and Mrs. J. H. Wade. 

55 FAN. 

Horn, carved, decorated with gilding, steel inlay and a 
landscape painted in color. 

French. Empire. 

Gift of Mr. and Mrs. J. H. Wade. 

56 FAN. 

Ivory, carved and decorated with gilding and color. 
French. Empire. 
Gift of Mr. and Mrs. J. H. Wade. 

57 FAN. 

Ivory, carved and decorated with gilding and painting in 
color. Vernis martin. Subject on one side, blindman's- 
buff, on the other a landscape. Panels oi chinoiseries. 

French. Louis XIV. 

Gift of Mr. and Mrs. J. H. Wade. 

58 FAN. 

Mount, mother-o'-peatl, carved, painted and gilt. Leaf, 
chicken-skin painted in color with a subject from Ariosto 
in the style of Le Brun. 

French. Louis XIV. 

Gift of Mr. and Mrs. J. H. Wade. 

59 FAN. 

Ivory, inlaid with mother-o'-pearl, painted and gilt. Sub- 
jects, a Fete Champetre on one side, a landscape on the other. 
Panels of chinoi series. 

French. Louis XIV. 

Gift of Mr. and Mrs. J. H. W^ade. 

62 



RENAISSANCE ART 

60 FAN. 

Ivory, carved, decorated with panels in color, in gilt 
frames. 

Chinese, for the French market. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

61 FAN. 

Mount, ivory carved and inlaid with gold, silver and 
mother-o'-pearl. Leaf, chicken-skin, painted with a land- 
scape with classic ruins. 

French. Louis XVI. 

Gift of Mr. and Mrs. J. H. Wade. 

62 FAN. 

Mount, ivory carved and inlaid with gold and silver. 
Leaf, of net with grotesque appliques and painted in the 
style of Berain. 

French. Louis XIV or XV. 

Gift of Mr. and Mrs. J. H. Wade. 

63 FAN. 

Mount, ivory carved and painted. Leaf, chicken-skin 
painted with Fete Champetre. 

French. Louis XV. 

Gift of Mr. and Mrs. J. H. Wade. 

64 FAN. 

Mount, mother-o'-pearl, carved and inlaid with gold and 
silver. Leaf, chicken-skin, in two parts, painted with a 
Roman Triumph above and a Camp Scene below. 

French. Louis XV. 

Gift of Mr. and Mrs. J. H. Wade. 

65 FAN. i 

Mount, tortoise shell, carved and gilt. Leaf, chicken-skin, 
painted; subjects, on one side, a perversion of the story of 
Diana and Actaeon; on the other, Amorini at play; style 
of Berain. 

French. Louis XV. 

Gift of Mr. and Mrs. J. H. Wade. 
(i^ SNUFF BOX. 

Gilt, enameled, with flowers and a portrait of Carl Theo- 
dore, Kurfiirst v. Bayern. 

German. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 



THE CLEVELAND MUSEUM 

67 BONBONNIERE. 

Bloodstone mounted with gold and silver. 
French. Louis XVI. 
Gift of Mr. and Mrs. J. H. Wade. 

68 SNUFF BOX. 

Gold. Chased. 

French. Louis XVL 

Gift of Mr. and Mrs. J. H. Wade. 

69 BONBONNIERE, OR PATCH BOX. 

Gold, chased and enameled, with representations of the 
jete of July 14th, 1790, the Feast of the Federation. 
Gift of Mr. and Mrs. J. H. Wade. 

70 BOX. 

Enamel. 

Gift of Mr. and Mrs. J. H. Wade. 

71 BOOK. 

Etrennes Interessantes des ^uatre Parties du Monde, bound 
in silk, embroidered and spangled with gold. On each side, 
is the miniature of a woman. 

Dated An XIII (i 804-1805). I" de I'Empire a Paris. 

Gift of Mr. and Mrs. J. H. Wade. 

72 TWO CUPS AND SAUCERS WITH COVERS. 

and Tortoise shell inlaid with gold and mother-o'-pearl. 

73 French. 

Gift of Mr. and Mrs. J. H. Wade. 

74 TRAY. 

Tortoise shell inlaid with gold, in the style of Boule. 
French. Louis XIV. 
Gift of Mr. and Mrs. J. H. Wade. 

75 BOX. 

Horn, with top and bottom of ivory; engraved with figures 
of the Virgin and sacred emblems. 

Spanish. 

Gift of Mr. and Mrs. J. H. Wade. 

76 WATCH. 

Gilt; pierced and engraved. 
German. XVII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

64 



RENAISSANCE ART 

77 ETUI AND CHATELAINE. 

Agate, with gilt mounts. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

78 SCENT BOTTLE. 

Enameled; gilt and jeweled mount. 
Gift of Mr. and Mrs. J. H. Wade. 

79 SCENT BOTTLE. 

Enameled; gold top. 

Gift of Mr. and Mrs. J. H. Wade. 

80 SCENT BOTTLE. 

Jade, mounted in pierced gold work. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

81 SCENT BOTTLE. 

Crystal; silver and jeweled mounts. 
French. 
Gift of Mr. and Mrs. J. H. Wade. 

82 SCENT BOTTLE. 

Crystal, mounted in pierced gold work. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

83 WATCH IN A CRYSTAL CROSS. 

Gilt and enameled mount. 
Viennese. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

84 LOCKET. 

Gilt and enameled, with a miniature on each side. The 
Madonna and St. Christopher. 

Spanish. XVII or XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

85 SCENT BOTTLE. 

Crystal; mounted with silver and enamel. 
French. 
Gift of Mr. and Mrs. J. H. Wade. 

65 



THE CLEVELAND MUSEUM 

86 SCENT BOTTLE. 

Lapis-lazuli, gilt enameled mounts and stopper in shape 
of a negro's head. Jeweled. 

Gift of Mr. and Mrs. J. H. Wade. 

87 SCENT BOTTLE. 

Gold enameled. 

French. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

88 SNUFFBOX. 

Gold enameled with a miniature on top. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

89 SNUFFBOX. 

Gold, painted in vernis martin. Shaped like a book, en- 
titled on the back L! art d' aimer. 

French. Louis XVI. 

Gift of Mr. and Mrs. J. H. Wade. 

90 ETUI. 

Tortoise shell. Mounted with gold, painted with genre 
subjects in the style of Greuze. 

French. Louis XVI. 

Gift of Mr. and Mrs. J. H. Wade. 

91 ETUI. 

Gold, painted with Amourettes in grisaille. 
French. Louis XVI. 
Gift of Mr. and Mrs. J. H. Wade. 

92 SNUFFBOX. 

Gold, repousse and enameled. In the style of Dinglinger. 
Polish or Austrian. XVIII Century, 
Gift of Mr. and Mrs. J. H. Wade. 

93 SNUFFBOX. 

Gold, chased, and set with diamonds. On the top a minia- 
ture of Napoleon I, signed and dated Isabey 18 10. Inside 
is inscribed " Precieux souvenir de reconnaissance donne par 
FEmp'' Napoleon /" a T Abbe Bonavita, son aumonier." 

French. 18 10. 

Gift of Mr. and Mrs. J. H. Wade. 

66 



RENAISSANCE ART 

94 SNUFFBOX. 

Ivory and tortoise shell, with a miniature of Frederick the 
Great on the top. 

German. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

95 SNUFFBOX. 

Tortoise shell and ivory, with pen drawings of scriptural 
subjects. 

French. XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

96 BOX. 

Tortoise shell. Painted in vernis martin, with a Fair 
scene. 

French. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

97 BOX. 

Silver-gilt filagree. The cover composed of a piece of In- 
dian jade, set with jewels in gold. 

Italian, XIX Century. 

Gift of Mr. and Mrs. J. H. Wade. 

98 BONBONNIERE OR SNUFFBOX. 

With miniature paintings m grisaille on ivory, by Degault. 
French. 
Gift of Mr. and Mrs. J. H. Wade. 

99 MUSICAL BOX. 

Painted with genre subjects in the style of Teniers. 
Dutch. 
Gift of Mr. and Mrs. J. H. Wade. 

100 SNUFFBOX. 

Tortoise shell. Painted on the cover is an altar crowned 
with a fasces from which a secret spring causes a bust of 
Napoleon as First Consul to rise. 

French. Early XIX Century. 

Gift of Mr. and Mrs. J. H. Wade. 

loi INK STAND. 

Bloodstone, mounted with gold and jewels. Gold fittings. 
French. Regence. 
Gift of Mr. and Mrs. J. H. Wade. 

67 



THE CLEVELAND MUSEUM 

1 02 PATCH BOX. 

Gold, chased, enameled and set with diamonds. 
French. Louis XIV. 
Gift of Mr. and Mrs. J. H. Wade. 

103 BONBONNIERE. 

Enameled inside and out. The Holy Family and land- 
scapes with figures. 

French. Louis XIII, about 1643. 

Gift of Mr. and Mrs. J. H. Wade. 

104 SNUFFBOX. 

Gilt set with miniature paintings in the style of Watteau. 
French. Regence. 
Gift of Mr. and Mrs. J. H. Wade. 

105 SCENT BOTTLE. 

Crystal mounted in pierced gold work, enameled. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

106 SCENT BOTTLE. 

Ivory. Gold mounts. 
English. XIX Century. 
Gift of Mr. and Mrs. J. H. Wade. 

107 VINAIGRETTE. 

Chalcedony, in the shape of a Lady of the Court. Set with 
jewels and gold-mounted. 

French. Louis XV, XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

108 SCENT BOTTLE. 

Bloodstone, gold mounted, in the shape of a shepherdess, 
carrying a lamb. 

French. XVIII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

109 RING. 

Set with a minute landscape painting. 
French. XVIII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

68 



RENAISSANCE ART 

iio GIRDLE ORNAMENTS. 

Silver gilt, with placques of enamel. 
Dutch. XVII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

111 WATCH. 

Silver gilt, enameled. 

Gift of Mr. and Mrs. J. H. Wade. 

112 SCENT BOTTLE. 

Enameled. 

Gift of Mr. and Mrs. J. H. Wade. 

113 BONBONNIERE. 

Silver gilt; enameled. 

Gift of Mr. and Mrs. J. H. Wade. 

114 SCENT BOTTLE. 

Enameled. 

Gift of Mr. and Mrs. J. H. Wade. 

115 TOOTHPICK CASE. 

Enameled. 

Gift of Mr. and Mrs. J. H. Wade. 

116 SCENT BOTTLE. 

Porcelain. 

Gift of Mr. and Mrs. J. H. Wade. 

117 SCENT BOTTLE. 

Porcelain. Silver gilt neck, set with garnets. 
Gift of Mr. and Mrs. J. H. Wade. 

118 PORTABLE UNIVERSAL SUN DIAL. 

Silver. Probably made at Augsburg. 
XVII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

119 TWO FRAMES OF MINIATURES. 

and European. 

120 Lent Anonymously. 

121 TWO FRAMES OF PAINTED ENAMELS, 
and European. 

122 Lent Anonymously. 

69 



GALLERY IV_A COLLECTION 

OF PAINTINGS 
GIVEN BY MRS. LIBERTY E. HOLDEN 



MRS. HOLDEN'S very important collection of old masters 
was acquired by her husband from paintings gathered dur- 
ing an extended stay in Italy by James Jackson Jarves, 
who had hoped that the pictures might ultimately be housed in a 
museum and become the nucleus for the studyin America of Italian 
art. With this end in view, Mr. Jarves, in i860, exhibited his 
pictures at the Derby Galleries, 625 Broadway, New York, and 
again in 1863, at the rooms of the New York Historical Society. 
The project of the establishment of such a center for Italian art 
could not then be successfully carried out. 

At the time of this latter exhibit Mr. Jarves offered one 
hundred and thirty of the pictures to the Historical Society for 
$50,000, but the offer was not accepted. Of the examples now in 
the Holden Collection only the Madonna and Child (No. 44), 
attributed to Lionardo, was among the pictures offered to the 
Society. Later, Mr. Jarves deposited most of his pictures with the 
trustees of Yale College as security for a loan made to him by the 
college, and as he was unable to meet the obligation, he forfeited 
the pictures to the college. 

Some works, however, were not deposited at Yale, and these, 
together with a number which were probably acquired later, were 
shown in 1883 and 1884 in the Boston Foreign Art Exhibition. 
It was this group of paintings which was bought in 1884 by the 
late Mr. Holden. 

The preface to the Handbook for Visitors stated that the 
pictures in the collection were not presented as masterpieces but 
as types of the greater men and their schools, fairly characterizing 
their motives, coloring, design, and modeling; average represen- 
tative examples of their minor work, but possessing some distinc- 
tive recognizable qualities to those who had made a study of them.^ 
An additional point of interest to connoisseurs is supplied by the 
fact that the authors of many of the paintings are uncertain, thus 
offering possibilities of discussion and research. 

^ Handbook for Visitors to the Gallery of Old Masters exhibited at the Boston Foreign 
Art Exhibition. 1883-1884. 

71 



THE CLEVELAND MUSEUM 

Most of the paintings in the Holden Collection are on religious 
subjects. By following them closely one can note the historical 
development in the treatment of religious themes. The earliest 
of the pictures show strong Byzantine influence, even though the 
spirit of interpretation of the themes is of later epoch. Especially 
is this double strain clearly marked in the Madonna Suckling the 
Child (No. i6), where the golden background, the pose of the Virgin 
and the drapery are Byzantine, while the lower part of the picture 
just as strongly expresses the Renaissance influence. Character- 
istics of the art of these two different periods are again plainly 
evident in the Madonna and Child (No. 36), where almost the 
entire picture is in the Byzantine spirit, only the movement of 
the Child and the introduction of nature showing the influence of 
the Renaissance. The collection, in fact, illustrates the gradual but 
ultimately complete abandonment of the Byzantine idea, even 
though the gold background is still used by some of the artists. 
The beautiful picture by San Severino, representing the Virgin 
Enthroned with the Child and the Saints (No. 34), may be con- 
sidered as an intermediary step in the representation of the Virgin 
between the earlier and the more highly developed types, in which 
her human qualities make her a real mother, as, for instance, in 
the Madonna by Lorenzo di Credi (No. 12). In the subject of the 
Crucifixion, the same changes can be seen. The little Crucifixion 
(No. 35), is an example of the early delineation of Christ on the 
Cross; while the Crucifixion by the school of Sodoma (No. 37), 
in the introduction of a greater number of spectators and the group 
which includes the fainting Virgin, shows the later spirit. 

Portraiture in the Holden paintings is well represented by 
several masterly examples, and the collection as a whole admir- 
ably shows the progress of painting from the early Italian schools 
to the end of the Renaissance. Stella Rubinstein. 

ITALIAN SCHOOL. 

ALLORI, CRISTOFANO. 1 577-1621, Attributed to. Flor- 
entine School. 
Son and pupil of Alessandro Allori, who was the nephew 
of Bronzino and an estimable portraitist. 
I Portrait of a Lady as Saint Catherine. 

Against a dark brown background is seated a young 
woman, dressed in a bodice of faded rose color, with a 
touch of white across her chest, and around her wrists a 

72 



THE HOLDEN COLLECTION 

frill of soft material; a thin, transparent veil covers her 
head. On the third finger of her right hand she wears a 
jeweled ring. The picture is essentially a portrait; only 
the symbols — the palm leaf which she holds and the wheel 
of torture against which she rests — suggest the martyr, 
St. Catherine. The drawing is correct and the technique 
good. 

Wood. Oil. 37^ inches high; 28i inches wide. 

BALDOVINETTI, ALESSIO, 1422-1499, School of. Flor- 
entine School. 

Madonna Adoring the Child. 

The Infant Jesus reposes on a bed of grass strewn with 
wild flowers, His head against a cushion, His body resting 
on a fold of the Virgin's cloak. Timidly He turns His eyes 
and holds out His arms to His mother, who kneels at His 
feet. Her face looking down upon Him has a sweet, inno- 
cent expression; her hands are folded and her whole atti- 
tude reflects the charm of the hymns composed in her 
honor. In a rugged landscape behind the Virgin, with 
rocky boulders and pine trees, diversified by a wide- 
spreading, cultivated valley, are Tobias and the Arch- 
angel. 

This group is very like one in the picture by Francesco 
Botticini, Tobias and the three Archangels, in the Acad- 
emy of Fine Arts in Florence; the pose of the Infant is 
almost identical with the child in Botticini's picture. The 
Adoration of the Infant Jesus, in Modena.^ The expres- 
sion of the Virgin reminds one of the Virgin with the Vio- 
let, by Lochner, in the Seminary of Cologne, which is 
superior in execution, but has the same charming and 
childish expression. The picture has been ascribed by 
Mr. Jarves to Piero della Francesca; Bernhard Berenson 
says that it looks like the work of Sellaio, but that the 
landscape is in the hand of Alessio Baldovinetti; Dr. Os- 
vald Siren gives it to Botticini, saying, however, that the 
landscape is directly from Baldovinetti; and August F. 
Jaccaci thinks it to be of the School of Baldovinetti.^ 

'■Reproduced in the work on Botticini by Ernst Kiihnel. Taf. VII. 
^Bulletin of The MetropoKtan Museum of Art. October, 191 z. 

73 



THE CLEVELAND MUSEUM 

Thus the weight of opinion inclines to the School of 
Baldovinetti on account of the striking similarity of the 
Virgin and landscape to Baldovinetti's Virgin and land- 
scapes.^ 

Wood. Tempera. 42! inches high; 24I inches wide. 

BASSANO, LEANDRO; real name DA PONTE, 1558- 
1623. Venetian School. Pupil and assistant of his father, 
Jacopo Bassano. 
3 The Entombment. 

The dead Christ is supported by two angels who are wrap- 
ping Him in a white shroud, one holding the end of it at 
His feet, the other supporting His head with one hand and 
His body with the other. Blood drips from His side and 
hands and from His head, from which the crown of thorns 
has fallen down and round which rays of light form a 
halo. The head has the expression of intense suffering 
often seen in the representations of the Sixteenth century, 
and even more dramatically expressed in the pictures of 
Guido Reni; the body has a blackish and greenish tint 
suggestive of Tintoretto. Its treatment shows an under- 
standing of anatomy.^ 

The angel in the foreground wears a sleeveless yellow 
tunic, with the white sleeves of an undergarment rolled 
above the elbow; the other angel wears a red blouse, 
opened at the throat, a white garment beneath. 
The background shows a landscape with horsemen riding 
in the distance, three crosses silhouetted against a blue 
sky, and a tree in the foreground. 

This painting was formerly ascribed to Titian; then to 
Tintoretto, and recently by Mrs. Berenson, to Leandro 
Bassano.^ There is a great resemblance between it and 
the Pieta by Leandro in the Munich Pinakothek;^ in 
both pictures the bodies of the Christ are almost identical, 
in pose as well as in modeling. The costumes of the angels 

1 See his Annunciation, and the Virgin Enthroned with Saints, in the Uffizi, Florence. 

^ The entombment is not represented in art before the first half of the Fourteenth cen- 
tury; the use of them came, probably, from the early mystery plays. 

^ Rassegna d'Arte, 1907. Whenever in this catalogue mention is made of Mrs. Berenson's 
opinion, the reference will be found in Rassegna d'Arte, 1907. 

^See reproductions in Zottman: Kunst der Bassani, tab. 22, 23, 24. 

74 



THE HOLDEN COLLECTION 

are similarly treated in other pictures by Leandro in the 
Imperial Museum of Vienna. 

Canvas. Oil. 48I inches high; 30 inches wide. 

BICCI, NERI DI, 1419-1491. Florentine School. 

Pupil and close follower of his father, Bicci di Lorenzo. 
Virgin, Child and Angels. 

Against a gray-green background, strewn with stars, sits 
the Virgin, of simple Shd sympathetic mien, adoring the 
Infant Jesus who lies on her lap. Her robe is red, trimmed 
with a golden border; her mantle, of blue, with yellow 
lining. 

The Child is not idealized, but looks like a peasant child, 
with a rather old expression. On each side an angel sup- 
ports it; the one to the right, candid and simple, the other 
refined, dressed with elegance in a brown dress puffed 
in the fashion of the time, with his hair charmingly curled. 
He resembles Fra Angelico's angels, but lacks their sim- 
plicity. Above, on each side of the Virgin's head, are little 
cherubs, framed in wings, characteristic of the Italian 
Renaissance, and especially of the art of the Delia Robbia. 
The picture as a whole is interesting and a good example 
of the art of Neri di Bicci, who, without great talent, did 
his work well. His themes in religious paintings were lim- 
ited to four; The Annunciation, The Assumption and the 
Coronation of the Virgin, The Virgin with the Christ, and 
the Crucifixion.^ Comparing this picture with a similar 
one in the Museum of Fine Arts in Budapest, one finds a 
strong resemblance in the heads and in the expression of 
the faces; the more refined angel of this picture resembles 
the angel in an Annunciation in the Academy of Florence; 
the other angel and the Virgin closely resemble similar 
figures in a picture in the Chiesa di S. Felicita in Florence. 
Wood. Tempera, iff inches high; 183^ inches wide. 

"PSEUDO BOCCACCINO." Active about 1500. Milanese 

School. 
Adoration of the Shepherds. 

The background shows a landscape of rolling hills against 
a sky of soft green-blue and, in the foreground to the left, 

^Kuhnel, Ernst: Francesco Botticini, p. 25. 

75 



THE CLEVELAND MUSEUM 

a house with a doorway. The Virgin, in a red robe, kneels 
in tender adoration before the Child, who lies upon an 
end of her black mantle and holds out His arms to her. 
Saint Joseph, wearing a yellow robe and a red mantle, car- 
ries a long stick in his right hand and holds a cap in his 
left; at the right are two shepherds in adoration, one of 
very plebian type, in a yellow tunic, the other refined, 
in a gray tunic and ragged blue trousers. 
Wood. 34tV high; 13I inches wide. 

BOTTICINI, FRANCESCO, i446[.?]-i497. Florentine 

School. 
Pupil, first of Neri di Bicci, then of Botticelli and Ver- 
rocchio, by both of whom he was greatly influenced. 
Virgin and Child. 

In an airy, pleasant landscape the Virgin is seated holding 
the Infant Jesus on a pillow on her knee. In His right hand 
He clasps a bird, while He sucks two fingers of His left 
hand. Unlike the infants in paintings of the earlier periods, 
He has the appearance of a real child. The Virgin wears 
a loose green mantle, with yellow lining, over a pink robe, 
and on her head a draped, transparent, buff-gray veil. 
Her expression is tender, and her oval, slightly elongated 
face is reminiscent of both Botticelli and Verrocchio. 
This exquisite picture has been ascribed to Ghirlandaio; 
by Baron Liphard to Verrocchio, and by Mrs. Berenson 
to Botticini.^ There is a marked analogy between it and 
the Virgins of the Uffizi, the pictures by Verrocchio in 
the National Gallery, and a painting by Botticini in the 
collection of Mrs. Gardner in Boston. 

Wood. Tempera. 26I inches high; iSts inches wide. 

BRAMANTINO, BARTOLOMEO SUARDI, 1450-55 

— 1530. Milanese School. 
Adoration of the Shepherds. 

The scene is in an old stone enclosure, beyond which, to 
the left, is disclosed a landscape with hills and houses, and 
a soft, clear blue sky. On a fold of the Virgin's mantle lies 
the Infant Jesus. The Virgin, her blond hair hanging loose, 
wears a very dark red robe and a blue mantle edged with 

^See Bulletin of the Metropolitan Museum of Art, October, 191 2. 

76 



THE HOLDEN COLLECTION 

gold. Behind her, Saint Joseph, in a dark brown robe and a 
golden brown mantle, is seated in the traditional fashion. 
Near the Virgin, in an attitude of adoration, stands an 
angel dressed in transparent white, and next to him kneel 
two shepherds. The golden brown robe wrapped round 
the one in the foreground but half conceals his bare shoul- 
ders and arms. Behind these shepherds is a third, almost 
nude, while to the extreme left stands a cow. In the upper 
right-hand corner of the wall is the angel, who has appar- 
ently just announced the miracle to the shepherds.^ 
The conception of the kneeling shepherd in the foreground 
and of the one standing, is not in the spirit of the rest of 
the composition. This picture has some analogy with the 
Adoration, by Bramantino, in the Ambrosiana in Milan.^ 
Wood. i6iV inches high; iIt^ inches wide. 

CIGOLI, LUDOVICO CARDI, 1559-1613, Attributed to. 

Florentine School. 
Pupil of Alessandro Allori and Sante di Tito, developed 
under Baroccio. 
8 Portrait of a Member of the Medici [?] Family Re- 
presented AS Saint Peter the Martyr. 

Against a light brown background is shown the portrait 
of a youth, from whose wounded, tonsured head blood is 
flowing. His tunic is of light chestnut brown with black 
passementerie, and around his neck a soft white material 
is arranged in folds. 

It is a pleasing and well-preserved picture, the colors 
delicate and harmonious. The drawing of the head is cor- 
rect, the ears finely formed. It is distinctly a portrait, only 
the wound in the head suggesting Peter the Martyr, and it 
is very likely that of Giovanni de' Medici, second son of 
Cosimo, since it resembles one of him painted by Bron- 
zino.^ 

Canvas. 17 inches high; I2i inches wide. 

■' The representation of shepherds in adoration was not known in the Thirteenth and 
Fourteenth centuries, when the mere announcement by the angels to the shepherds constituted 
the theme. In the Fifteenth century, kneeling shepherds were introduced. (Male. EmUe 
L' Art religieux de la fin du moyen age. ) 

^Reproduced in VArte, 1914, p. 25. 

^Reproduced in Heyck, Edward: The Mediceer. 

77 



THE CLEVELAND MUSEUM 

CIMA DA CONEGLIANO, GIOVANNI BATTISTA. 

About 1460-15 17. Venetian School. 

Pupil and follower of Alvise Vivarini, influenced slightly 
by Bartolomeo Montagna, and greatly influenced by 
Giovanni Bellini. 

9 Virgin and Child. — Copy. 

The Virgin, standing, supports the nude Infant Jesus, 
who, His arms crossed on His breast, stands in front of 
her on a parapet. His hair is very curly. The Virgin wears 
a brick-red robe trimmed with gold bands, and a blue 
mantle. A yellow scarf, under which is a white one, falls 
from her head across her left shoulder and drapes her 
waist. A landscape of blue sky, rocks, trees, houses, and a 
winding stream forms the background. 
The picture is an exact copy of one by Cima da Conegli- 
ano in the Pinacotheca in Bologna, with the difference 
that in the original a tympanum above the picture con- 
tains God the Father and two cherub heads among clouds. 
The technique of this copy does not seem earlier than the 
Eighteenth century. It is signed exactly like the original. 
Wood. '12ys inches high; 20 inches wide. 

COSIMO, PIERO DI, 1462-1521, School of. Florentine 
School. 

10 Virgin With Child and Angels. 

The Virgin, seated, clasps in her arms the Infant Jesus, 
who, His arms round her neck, His cheek against hers, 
stands on a cushion in her lap. The Madonna's robe is red 
and harmonizes well with the dark green mantle which 
just touches her shoulders, but envelops the lower part of 
her body; a transparent veil covers her head and, falling 
to her shoulders, is held by a striped scarf which encircles 
her bodice; her sleeves are slit, showing a fullness of lace. 
A red, figured curtain fills the background. On either side 
of the Virgin is an angel in adoration. The style of their 
dress is similar; the lower part of their sleeves is slashed 
and filled in with soft white lace, and each wears a large 
jeweled breastpin and a striped girdle. The dress of the 
angel on the right is brown brocade with the lower sleeves 

78 



THE HOLDEN COLLECTION 

of dark rose; the dress of the angel on the left is dark 
green. 

Canvas. Oil. Round, 34I inches high; 33I inches wide. 

COSIMO, PIERO DI, 1462-1521, School of. 

11 Virgin and Child With Saint John and Angels. 

The Virgin supports the Infant Jesus, who stands upon a 
table beside which she is standing. Her dark red dress is 
covered by a green mantle, and her head and shoulders are 
encircled by a blue scarf which the Infant holds with one 
hand while He caresses His mother's hand with the other. 
On either side is an angel in adoration; the one at the right 
wearing a light brown dress with blue upper sleeves; the 
one at the left in a green robe with sleeves of light brown 
and a mantle which falls from the left shoulder. Below the 
Christ Child stands Saint John in adoration, against his 
shoulder a cross, the symbol of Christ's death. In the 
background is a landscape well interpreted and with good 
perspective. 

The picture portrays a charming and touching scene that 
does not appear in painting before the Fifteenth century 
and that was delightfully interpreted by Raphael in his 
pictures at the Louvre, La Belle Jardiniere, The Holy 
Family of Francis I, and La Vierge au Diademe Bleu. 
Canvas. Oil. Round, 37! inches high; ^^l inches wide. 

CREDI, LORENZO DI, 1459-1539. Florentine School. 

12 Virgin and Child. 

The Virgin, seated against a square column from which is 
suspended a draped curtain, and on either side of which 
can be seen a distant landscape of fine chiaroscuro, holds 
the Infant Jesus on a cushion on her knee. She wears a 
low-cut, brick-red dress with a blue-gray belt, and a dark 
blue-green mantle lined with pale green, which falls from 
her arms and covers her lap and knees. Her shoulders are 
enveloped by a scarf thrown over her head and coquet- 
tishly caught at the back. The Infant stretches out His 
arms to take His mother's breast, which the Virgin is pre- 
paring to give Him, while she observes Him with gravity, 
having a premonition, perhaps, of the fate that awaits 
Him. The Child is completely nude and very plump. This 
is a characteristic of all of Credi's children. 

79 



THE CLEVELAND MUSEUM 

It is a charming, intimate scene, far removed from the 
Middle Ages and the representations of that time. The 
figures have points of resemblance to the Virgin and In- 
fant Jesus, Saint John the Baptist in Adoration, and The 
Angels of the Uffizi in Florence.' 

Wood. 31 inches high; aiji inches wide. 

FILIPPO DA VERONA, Sixteenth Century. Italian 

School. 
Pupil of Titian; a painter in the manner of Giovanni Bel- 
lini. 
13 Virgin, Child, and Saints. 

A dark green curtain forms the right background, a land- 
scape with houses and trees, the left. The Virgin, wearing 
a blue-green mantle, a red robe with a gold band round 
the neck, and a scarf on her head, holds the Infant Jesus. 
Though a child in modeling. He is of grave expression. 
Saint Anne, in dark brown, with a blue mantle lined with 
orange, and a yellow scarf on her hair, caresses the head of 
the Infant, while below, John the Baptist, who looks out 
at the spectator, bears the cross, the symbol of the Pas- 
sion. Behind the Virgin is a female saint; at her right a 
male saint, and in the lower left-hand corner, in a close- 
fitting green garment. Saint Joseph sits in the traditional 
fashion. Joseph, who is bald and has a short beard, wears 
an orange mantle. The saint on his left has long hair, beard 
and moustache. 

The Virgin is not alluring like the Virgins of the Middle 
Ages; she looks like a rich, well-dressed bourgeoise. The 
Saint Anne, with her grave and mild expression, is remin- 
iscent of Bellini, both in the interpretation of her face and 
figure, and in the manner in which the scarf is draped on 
her head and shoulders. 

Saint Joseph, old and gray, is painted more in the spirit 
of the earlier traditions, and represents well his type as 
portrayed at the end of the Fourteenth century and during 
the early Fifteenth century. 

Wood. 30I inches high; 46! inches wide. 

1 Ferrigni, Mario: Madonne Florentine. 

80 



THE HOLDEN COLLECTION 

FIORENTINO, PIER FRANCESCO. Florentine School. 
Active in the last three decades of the Fifteenth century. 
Pupil possibly of Fra Angelico or Benozzo Gozzoli; in- 
fluenced by Neri di Bicci — Great imitator of Fra Filippo 
Lippi and others. 

14 Madonna Adoring The Child, Attended By Angels. 
The Virgin, who is kneeling on a bed of flowers in the 
midst of which is an open prayer book, adores the Infant 
Jesus.^ He, supported by two angels, behind whom a third 
is seen in an attitude of adoration, holds out His arms to 
His mother, while the Holy Ghost, in the form of a dove, 
sends rays of light upon Him. 

The background shows a landscape in the manner of Fra 
Filippo Lippi. In the far distance there are houses covered 
with red brick roofs. 

The Virgin wears a full blue mantle with a gold border, in 
the fashion of the period. A veil covers her head, back of 
which is a nimbus. She lacks the charm and youth of the 
Virgin of Fra Angelico or Perugino, but impresses the spec- 
tator by the seriousness of her expression. The angels, 
dressed like pages of the Fifteenth century, with crowns of 
flowers on their heads, are very plebian types, but have a 
simple and naive air. 

They are far removed from the beautiful angels of Fra 
Angelico or of the Gothic cathedrals. 
In spite of many defects in the drawing," obviously Pier 
Francesco Fiorentino was inspired in this picture by Fra 
Filippo Lippi. The type of the Virgin is the same as that in 
his Annunciation in the Church of San Lorenzo in Flor- 
ence, but she appears older; and the angels, notwith- 
standing their incorrect drawing, are done in his spirit. 
The landscape, too, is very much inspired by his Nativity, 
also in the Academy of Fine Arts, Florence. See his An- 
nunciation and the Coronation of the Virgin in the Acad- 
emy of Fine Arts, Florence. There is a picture quite similar 
to this by Pier Francesco Fiorentino in the Stadel Art In- 
stitute in Frankfort-am-Main. The difference consists in a 

^ This kneeling attitude of the Virgin before the Christ Child does not appear before the 
end of the Fourteenth century, its introduction very likely having come through the mystery 
plays, influenced by San Bonaventiu'a's Meditation on the Life of fesus. 



THE CLEVELAND MUSEUM 

different treatment of background and in some slight 
changes in the garments and in the expression ot the faces. 
Wood. 30I inches high; 2if inches wide. 

FLEMISH SCHOOL. Fifteenth century. 

15 Portrait of A Florentine Doctor. 

A middle-aged man is seated against a curtain suspended 
from a white wooden shelf on which are a drug-pot (alba- 
rello) and other objects. He wears a loose, dark-green 
mantle with wide, flowing sleeves, an undergarment, the 
collar of which is edged with a band of fur, and a red head- 
dress, which falls in a broad fold over his ears down to his 
hands. 

This is an admirable example of the realistic portraits of the 
Fifteenth century, in which the painters endeavor to por- 
tray the personality of the individual. The firm set of the 
mouth indicates a feeling of self-importance; and the 
thoughtful eyes and the deep ridges between them, habit- 
ual mental effort. The hands are admirably treated in the 
characteristic Flemish manner, as are also the ridges 
around the eyes, the corners of the mouth, and all the 
accessories. The picture was formerly ascribed to Domen- 
ico Ghirlandaio, but Mrs. Berenson attributes it to Justus 
of Ghent, assigning it to the series of portraits from Duke 
Federigo Montefeltro's library in Urbino, of which thir- 
teen examples are in the Louvre and several in the Barber- 
ini palace in Rome.^ It is doubtful whether Mrs. Beren- 
son's attribution can be accepted, since a comparison of 
this portrait with pictures attributed to Justus of Ghent,'' 
shows no resemblance to them; while it is likely that it 
was painted by one of the many Flemish artists who inun- 
dated Italy in the Fifteenth century, bringing with them 
their own style of portraiture, a theory which the Italian 
costume supports. 

Wood. Oil. 23I inches high. 17I inches wide. 

ITALIAN SCHOOL. Late Fourteenth century. 

16 Madonna Suckling The Child, and The Temptation 
OF Eve. 

The picture is divided into two parts. In the upper part, 

^ Rassegna d'Arte, 1907, p. 2. 

^ See Schmarzow, August: Toos van Ghent und Melozzo da Forli. 

82 



THE HOLDEN COLLECTION 

on a golden background, the Madonna, in a red robe cov- 
ered by a dark, loose mantle, dashed with gold, is en- 
throned with the Child. Angels are in adoration. The 
nimbus of the Virgin is surrounded by twelve stars in re- 
lief, in each a miniature apostle's head; and in the upper 
left corner appears the sun. The Infant, swaddled in yellow 
cloth, which exposes His square shoulders and His toes, 
has a round head and wide-open eyes. He holds His 
mother's breast ready to nurse.^ 

To the left of the Virgin, in adoration, is an angel, in a 
flowing cream-colored robe, strewn with flowers; to the 
right. Saint George, in a brown robe tied around the waist, 
and bearing a shield and sword. Above him is Saint 
Michael, who wears a red robe, and a scarf that falls from 
his shoulder and is draped round his waist. In his left 
hand he holds a scale symbolizing the weighing of the 
souls at the Last Judgment; in his right hand, a sword. 
Nimbi are behind the heads of the saints and angel. In the 
lower right corner is a red shield on which appears a coat- 
of-arms, a wing below a star in what was once a silver leaf.^ 
Separated from the upper part of the picture by a painted 
band, in figured relief, is the gradino. On a bed of flowers 
reclines Eve, with her wavy blond hair falling about her. 
A serpent with a human head is tempting her with the for- 
bidden apple, which she is about to taste. 
The upper part of the work is largely in the Byzantine 
manner with the exception of the head of the Mother and 
the expression of the Child, while in the lower part the in- 
spiration seems quite different. Eve's pose, as well as the 
modeling, suggesting the Renaissance. 
Mr. Jarves believed the work to be that of Giotto. Mrs. 
Berenson^ says the picture is of the early Sienese School 
with traces of the influence of Bartolo di Fredi. In the 

1 The representation of the Madonna nursing the Christ Child was known in the Cat- 
acombs of Priscille, in the Second century, but was gradually superseded by the Madonna 
triumphant. This theme again was supplanted by the more human representations in the French 
cathedrals in the Thirteenth century. The inspiration of the human Madonna may have come 
through the French ivories. See Michel, Andre: Histoire de Part, T 2, p. 874. 

^ The coat-of-arras has been ascribed to the Alighieri family, but Mr. Bryson Burroughs 
thinks that it may have belonged to a collateral branch of the house of Bevilacqua of Verona. 
See Bulletin of The Metropohtan Museum of Art, Oct. 191 2. 

^ Rassegna iT Arte. 

83 



THE CLEVELAND MUSEUM 

Saracina Collection at Siena is a figure of Eve by Paolo di 
Giovanni Fei, similar to this one. In Dr. Siren's opinion, 
the painting is by Francescuccio Ghissi,' while Mr. 
F. J. Mather believes it to be virtually a replica by Andrea 
da Bologna, of his picture in the Church of Sant' Agostino 
at Pausula.^ Bologna's Virgin is, in fact, similar to this 
one. The Child has almost the same pose and is treated in 
the same manner, but the Virgin's head in this collection 
is much more attractive. There is no Eve in Bologna's 
picture. 

Wood. Tempera. 75x5 inches high; 385- inches wide. 

FLORENTINE SCHOOL. Fifteenth century. 
17 Horse Race in the Streets of Florence. A Cassone 
Front. 

In this interesting picture the usual religious theme has 
given place to a subject taken from civil life.' The great 
charm and variety in movement show the vivid imagina- 
tion of the artist. 

The background discloses houses with arched windows, 
decorated with banners and rugs, flower-pots, and a 
branch of tree stuck in the wall in honor of the occasion 
upon which the race was given. People are standing in ex- 
cited groups in front of the houses and leaning from the 
windows, their gestures revealing their intense interest. At 
the extreme left is a platform on which appear two heralds 
blowing trumpets; while two other persons are raising a 
large gold banner with a border offleur-de-lys. The horses 
and their riders show splendid animation and movement. 
One horse has fallen and two are riderless. The costumes 
are characteristic and enhance the interest of the picture, 
which is, in all its details, representative of the fashion of 
the time. Scarlet is freely used, perhaps to emphasize the 
spirit of gaiety. 

Wood. 1 61 inches high; 54^ inches wide. 

1 Bulletin of The Metropolitan Museum of Arts 191 2. 

^Reproduced in Venturi: Storia dell Arte Italiana, Vol.V, p. 944. 

5 Subjects of civil life were first represented in the Books of Hours. One of the most cu- 
rious representations of this kind may be seen in the Tr'es Riches Heures du Due de Berry, 
illuminated in the Fourteenth century, in ChantUly, in which a calendar represents the oc- 
cupations or pleasures of every month. 

84 



THE HOLDEN COLLECTION 

FLORENTINE SCHOOL. Middle of the Fifteenth cen- 
tury. 

1 8 Saint Francis Receiving the Stigmata. 

Saint Francis, kneeling, receives the stigmata emanating 
from Jesus, who appears nailed to a cross floating in the 
sky. The body of Jesus, emitting rays of light, is enfolded 
in red wings. To the left of Saint Francis is his disciple, 
Leo, on whose knees rests an open prayer book, the read- 
ing of which has been suddenly interrupted by the celestial 
light which comes from above. The movement of his hands 
and his countenance, which expresses mingled astonish- 
ment and adoration, is directed toward the apparition of 
Christ. Saint Francis and his companion are clothed in the 
gray garb of the order. The landscape is composed of huge 
gray rocks, in the foreground of which are two small 
houses with a row of bright green trees behind them. 
This subject, a favorite with many artists in the Four- 
teenth and Fifteenth centuries, is painted very much in 
the spirit of Giotto. 

Wood. Tempera. 81 inches high; I2f inches wide. 

ITALIAN SCHOOL. Late Fifteenth century. 

19 Pope Sixtus IV. 

Against a landscape background the Pope is seated, hold- 
ing his right hand, on which there are four rings, in an atti- 
tude of benediction. Over a white surplice, clasped by a 
studded morse, he wears a richly embroidered brown cope 
with elaborately jeweled borders. His white tiara is en- 
circled by three jeweled crowns. 

Mrs. Berenson thinks that like the Florentine Doctor (No. 
15), this portrait is by Justus of Ghent. It is not, however, 
possible that the two portraits, which are so different in 
execution, were done by the same artist. The work was 
undoubtedly influenced by Flemish art, as. is apparent in 
the fine details of jeweled setting and rich embroidery, and 
the costume is very like those attributed to Justus of 
Ghent, especially in the portraits of Saint Gregorius and 
Saint Ambrosius of the Barberini palace, and the Saint 
Augustine in the Louvre,^ but the modeling of the head 
and hands, however, is done in a quite different style. 

1 Pictures reproduced in Schmarzow: Joos ')>an Gent, and Melozzo da Forli, Taf. 6,8, g. 

85 



THE CLEVELAND MUSEUM 

The probability is that an Italian painter influenced by 
Justus of Ghent did the work.^ The manner is suggestive 
of Melozzo da Forli^ but the technique is of a later period, 
and may have been by a follower of his school. 
Canvas. Oil. 27f inches high; 20t inches wide. 

FLORENTINE SCHOOL. 

20 Annunciation. 

The pillars of a cloister are in the background. On the 
floor is a red carpet. An angel, garbed in a red tunic and a 
green mantle, kneels before the Virgin, who is seated in an 
armchair with an open prayer book in her lap, and who 
looks up at the angel with surprised, soulful eyes. Her 
dress falls in simple folds and her dark cream mantle is 
lined with ermine. The Holy Spirit in the form of a dove, 
sends rays of light, on which are inscribed the words, 
ECCE ANCILLA DNI, in the direction of the Virgin. 
The picture which is certainly a copy, has the spirit and 
the simplicity of the earliest representations of the An- 
nunciation, but the technique seems to be of the Sixteenth 
century. 

Canvas. Oil. 36tV inches high; 48I inches wide. 

ITALIAN SCHOOL. Sixteenth century. 

21 Virgin and Child Seated in a Niche. 

The Virgin is seated in a niche, while on her knee the 
Infant Jesus holds her hand with His left hand, and gives 
the benediction with His right. Around His body is a scarf. 
The Infant, although a real child in the structure of His 
body, expresses in His looks the gravity of His future 
destiny. The Virgin, who has a gray fichu on her head 
which exposes her soft brown hair, is dressed in a red robe 
with puffed upper sleeves, the lower part being cream-color 
and slashed to show a fullness of soft white material. Her 
mantle, which has fallen from her shoulders and covers 
the lower part of her body, is dark green. The costume is 
of the fashion of the time, and the colors can be seen in 
many contemporary pictures, especially in those of Raph- 

1 There is in the Louvre a portrait of Sixtus IV attributed to Justus of Ghent very sim- 
ilar to this, but the execution shows an earlier period. 

''See V Opera dei Grandi Artisti Jtaliani Raccolta da Corrado Ricci. T.i, Melozzo 
da Forli. 

86 



THE HOLDEN COLLECTION 

ael. It is not probable that the picture was painted later 
than the first half of the Sixteenth century. The Virgin is 
neither the type represented in the Middle Ages nor the 
realistic type of Titian's period, but is ideahzed in the 
manner of Fra Bartolomeo and Raphael. 
Wood. 23! inches high; ly-iV inches wide. 

ITALIAN (NORTH) SCHOOL. Sixteenth century. ^ 

22 Portrait of Robert Castiglione. 

A man with a very expressive face, a long white beard, and 
white hair, stands facing three-quarters to the left. He 
wears a high cap, a mantle with a large fur collar and a 
frill of lace around his wrists. His right hand, finely mod- 
eled, with a ring on the little finger, holds the fur trimming 
of his mantle; his left, gloved, holds a prayer book and the 
glove of his right hand. His arm rests against a sword-hilt. 
In the upper left-hand corner is a red shield, a lion argent, 
supporting with his dexter paw a castle of three towers 
gold, the coat-of-arms of the Castiglione family in Milan ;^ 
and on the bottom is the following inscription: ROB- 
ERTUS CASTILLIONEUS CREMON^E PRETOR 
ET IMPERIALIS VICARIUS AN D MCCXXXXVI. 
The picture is in the manner of Titian, especially in the 
treatment of the hands and the garments. 

Canvas. Oil. 47! inches high; 387 inches wide. 

ITALIAN SCHOOL. Seventeenth century. 

23 Portrait of a Roman Lady. 

Dark brown background. A woman, with an interesting 
and well-proportioned head, wears a dark bodice, very 
decollete, filled in with soft white lace, a white frill around 
her waist, and a white scarf which, gracefully draped, 
covers her head and shoulders but shows her throat and 
the right side of her bosom. The folds of the drapery are 
skilfully executed. The right hand is well-formed and rests 
on a book which lies on a parapet. 

The picture is executed in good style and seems to be of 
the first half of the Seventeenth century. 
Canvas. 23^ inches high; 28I inches wide. 

1 Very probably there was a branch of this family in Cremona with the same arms. See 
Litta: Famiglia Castiglione ItalianeJYAW, for the genealogy of the Castiglione Family. 

87 



THE CLEVELAND MUSEUM 

ITALIAN SCHOOL. Seventeenth century. 

24 Portrait of Pope Innocent X. 

Against a black background, seen to just below the elbows, 
sits Pope Innocent X, with his face, on which is a mild ex- 
pression, slightly turned to the right. 
He has blue eyes, a thin gray moustache and beard. Only 
the left ear is visible and that is finely modeled. He wears 
a red hood and cape, having a white fur border and a 
white collar. This portrait is certainly inspired and almost 
copied from Velasquez's Portrait of Innocent X, which 
was reproduced and imitated frequently. This famous 
original is in the Doria palace in Rome and the prelimi- 
nary study for it is in the Hermitage in Saint Petersburg. 
Mrs. Gardner's portrait is very like the well-known por- 
trait in the Wellington collection^ which has been ques- 
tioned as to its authenticity yet is considered genuine by 
many critics. When comparing our painting with the 
great masterpiece in Rome its weakness, which may be 
due to re-painting, becomes apparent. The eyes, the 
cheeks, the nose, the forehead just above it, and the 
mouth, all show unmistakable traces of having been re- 
painted. 

Canvas. Oil. 271 inches high; 2i| inches wide. 

LANZANI, POLIDORO, 15 15-1565. Venetian School. 
Follower of Titian and influenced by Bonifacio and Por- 
denone, later by Paul Veronese. 

25 Death of The Virgin. 

The Virgin, clothed in a dark red robe and black cloak, 
with folded hands and a peaceful expression, is lying on a 
bier. Numerous figures with tragic expressions and varied 
attitudes and costumes stand about her, a man in the 
foreground holding a corner of the white sheet which 
covers her bier. The whole tone of the picture is dark. The 
drawing and grouping are interesting. 
This picture, which comes from the Gino Capponi Gallery 
in Florence, has been ascribed to Tintoretto, but it seems 
more properly to be ascribed to Polidoro Lanzani. There 

1 Beraette, A. de; Velasquez, p. 88. 



THE HOLDEN COLLECTION 

are resemblances here to his figures in the Santa Conver- 
sazione in the Massarenti Collection in Rome. 

The carved wood frame is extremely interesting and is in 
the style of the period; upon it appears God the Father, 
with His right hand resting on the terrestrial globe, and 
with cherubim and putti around Him. On each side an 
angel stands in a graceful attitude, and below are two 
figures very decoratively posed. The modeling is in high 
relief and accords with the general design of the picture 
astonishingly well. 

Wood. 14! inches high; 41^ inches wide. 

LUINI, BERNARDINO, about 1475-1532. Milanese 
School. 

Pupil probably of Borgognone, influenced by Bramantino, 
and Lionardo. 

26 Virgin and Infant. 

The Virgin, wearing a red robe showing a white under- 
habit, a green mantle, and a transparent veil, which covers 
her hair and falls over her shoulders, is seated against a 
green background holding the Infant Jesus in her arms. 
Holding a flower in His right hand, and with the other 
grasping the ends of a scarf which partly covers Him, He 
looks smilingly at His mother, who, unclasping her dress 
about to nurse Him, smiles back. The figure of the Child 
is attractive in pose, expression, and modeling, and the en- 
tire composition has a gracious atmosphere of mother- 
hood. 

The picture is characteristic of Luini's manner. The head 
of the Virgin strongly resembles his Madonna types; its 
similarity to the head of the Virgin in the National Mu- 
seum at Naples is striking. The expression round the eyes 
is very like that in his Salome. The Child has the head and 
smile of the Infant in Saint Catherine Reading, in the 
Hermitage, Petrograd; His pose, with slight diff'erences, 
is like that of the Infant in the Virgin and Child in the 
Brera, Milan. 

Wood. 2 It inches high; i6tI inches wide. 

89 



THE CLEVELAND MUSEUM 

LUINI, BERNARDINO, about 1475-1532. 

27 Salome with the Head of Saint John. 

Salome, dressed in a costume of brocaded rose material,' 
cut low, disclosing a soft white guimp opened slightly in 
front and held together by a narrow ribbon bow, holds a 
chased silver dish into which the executioner is about to 
drop the head of John the Baptist. Her face, which is 
turned toward a maid behind her, shows a dreamy, medi- 
tative expression suffused with one of triumph. The fero- 
cious joy in the countenance of the executioner is empha- 
sized by the look of resignation on the dead face of Saint 
John who has suffered for his faith. 

The influence of Lionardo is very apparent in the woman's 
head, especially in the treatment of the corners of her eyes 
and her mouth, and also in her hands. 
The picture is similar to one of the same subject in the 
Uffizi,^ with one exception, the arm of the executioner 
who holds the decapitated head is naked in the Uffizi 
picture. The style of garment the executioner wears makes 
the sleeve in this copy seem unnecessary. 

Canvas. Oil. i8f inches high; 23! inches wide. 

MORONI, GIOVANNI BATTISTA, 1520-25—1578. 
Pupil and follower of Moretto. 

28 Portrait of a Gentleman and His Wife. 

The man, who faces three-quarters to the left, stands with 
his right hand on a book and his left on the hilt of a sword. 
He is dressed in black velvet, with a triple gold chain 
around his neck, and a narrow jeweled belt around his 
waist; his collar is high and close-fitting, edged like the 
sleeves, with a white frill. His hair is brown and his blond 
moustache and close-cropped beard are very skilfully 
painted. His wife, wearing a very elaborate black velvet 
gown with white puffed sleeves trimmed with gold pas- 
samenterie, bracelets, and a heavily jeweled chain around 
her waist, stands at his side to the right. Her left hand 
rests on the back of a chair, and the right touches one of 

1 On the border of her bodice in the copy, is printed the name, Leonardo da Vinci, 1 494. 
It was probably put there at a later date, and has no real significance. 

^ For description, see Williamson, George: "Bernardino Luini, p. 67. 

90 



THE HOLDEN COLLECTION 

the numerous chains about her neck. Above the man is in- 
scribed: ^TA. sv^. ANNO. XXXV, and above the woman: 

^TA. SV^. ANNO. XXVIIJ. 

The portraits are excellent examples of Moroni's work. 
The man seems a finer type than his wife, whose face is 
somewhat coarse. The hands of both figures, it should be 
noticed, are well modeled and there is a very careful treat- 
ment of every detail. 

Canvas. Oil. 39^ inches high; 55! inches wide. 

PARENZANO, BERNARDINO, 1437-1491. School of 
Padua. 

Influenced by Ercole Roberti, Domenico Morone, Man- 

tegna, and Bonsignori. 

29 Procession from a Castle. 

A king with his retinue, all on horseback, is advancing 
toward the left. Behind them is a castle. The background 
toward the right is a landscape with hills and castles and 
river. In the sky are clouds. 

The picture is very interesting in that it represents types 
and costumes of the period, and gives a good reproduction 
of the castle. It was formerly ascribed to Squarcione, but 
has recently been attributed to Bernardino Parenzano, by 
Mrs. Berenson, in Rassegna d'Arte} 

Wood. Tempera. 205- inches high; 18 inches wide. 

ROSELLO, pi JACOPO FRANCHI. Active in the early 
part of the Fifteenth century. Florentine School. 

30 Virgin and Child. 

The Virgin, upon a figured cushion on a bench, against a 
golden background, is seated with the Child on her left 
arm. The Infant, a large child with a grave expression, 
clasps His right hand around her neck and holds a bird 
in His other hand. His right foot is on His mother's right 
hand, which is long, with tapering fingers. The Virgin's 
mantle is black lined with yellow brocade, her bodice 
figured rose, and the scarf on her head of pale blue, trim- 
med with bands of conventionalized design and a beaded 
edge. She is not an idealized type; her very natural round 
face and forehead and almond-shaped eyes have an inno- 
cent and candid expression, while her pose is extremely 

^ Rassegna d' Arte, 1907. 

91 



THE CLEVELAND MUSEUM 

simple. The Child wears a pale green dress richly figured, 

over which is a rose mantle with a flower design and 

beaded edge. 

The pose of the Child and the style of His garment belong 

to an earlier period; but several details, such as the hand 

round the mother's neck and the bird with which He 

plays, are signs of the new era. 

The picture was attributed by Mrs. Berenson to Rosello 

di Franchi. There are in fact some analogies with his 

Virgin Enthroned,* as there are also with the picture by 

Lorenzo Monaco.^ 

Wood. Tempera. Octagonal 27I inches high; 2i| inches 

wide. 

ROSA, SALVATORE. 16 15-1673. Neapolitan School. 
Born in Ranella. Died in Rome. Pupil of Fracanzano, 
Falcone and Ribera. He lived in Naples, Florence, and 
Rome. 
31 Portrait of Himself. Copy of his picture in the Pitti. 
A very dark background; the painter is seated, holding in 
his left hand a palette with three brushes. He wears a dark, 
close-fitting garment with a full white triple collaret. His 
head, with its mass of brown hair combed back from a 
high forehead, florid face, and red, sensual lips, is very 
expressive. The edges of the lower lids of his dark brown 
eyes are slightly puffed and inflamed. 
The portrait is a reproduction of the one in the Pitti 
Gallery, Florence.^ The countenances are identical, with 
this difference, that the face of the one in the Pitti Gallery 
is even more elongated and appears slightly older than the 
face in this copy and the eyes show none of the little swel- 
lings and reddish effect seen here. The drawing of the arm 
and of the garments is much better and more clearly in- 
dicated in the original, and the thumb which goes through 
the opening in the palette and the ends of the other fingers 
are distinctly seen. This copy may have been retouched. 
The collar is very exactly copied. 

Canvas. Oil. 30! inches high; 24! inches wide. 

Exhibited in Gallery III, Renaissance Art No. 47. 

1 Reproduced in Rassegna if Arte, 1905, p. 9. 
^Gallery 33, Metropolitan Museum of Art. 
^Ozzola: Vita e Opere di Sahatore Rosa, Pl.XIV. 

92 



THE HOLDEN COLLECTION 

ROSA, SALVATORE, 1615-1673. 
32 Battle Scene. 

A background showing clouds, flashes of sunhght, rocks, 
and two fighting eagles. In the foreground are figures of 
Roman soldiers and battle horses. The movements of the 
soldiers are intensely dramatic, but there is an artificial 
and academic feeling in the handling. The background 
shows the artist's best manner, as is the case with many 
decorative pictures of the Seventeenth century. The 
picture can be compared in composition and execution to 
the one in the Louvre called "A Battle Scene." 
Canvas. Oil. 59 inches high; 113! inches wide. 
Not Exhibited. 

SALVIATI, IL: real name FRANCESCO DEI ROSSI, 

1 5 10-1563, Attributed to. Florentine School. 
Pupil and follower of Bronzino, influenced by the Ve- 
netians. 
23 Portrait of Giuliano De Medici. 

Against the background of a dark curtain to the right and 
a landscape of trees and sky to the left, stands the figure 
of a young man seen to below the waist. His well-formed 
head, with its interesting expression and curly brown hair, 
faces three-quarters to the right. He has on a loose black 
coat, the lower sleeves reddish brown, edged with frills. 
His tunic is brown, cut low, and showing a soft white 
undergarment. Both hands are well modeled; the right, 
which is in shadow, rests on a red bench, the left holds a 
written paper. 

The portrait does not resemble the historic descriptions 
that we have of Giuliano, who is represented as having a 
large crooked nose, an ugly mouth, and short round 
beard. ^ Raphael's lost painting^ of him, a copy of which 
by Alessandro Allori, is in the Uffizi, accords with this 
description. Here, also, the paper which he holds in his 
hand is probably an allusion to his literary tastes. It is 
very possible that our portrait was influenced by the 
statue of Giuliano made by Michelangelo,^ who repre- 

^Steinmann: Geheimnis der Medicis Graeber, p. 173. 
^Grayer: Raphael, Peintre de Portraits, V.z, p. 202. 

"Knapp, Fritz: Michelangelo, p. 109; Brockhaus: Michelangelo and the Medici Capella, 
P-52- 

92 



THE CLEVELAND MUSEUM 

senting him as young and beardless, has given an idealized 
rather than an exact portrait. Here the pose of the head 
and neck is obviously in imitation of this statue. In Christ 
Church Collection, Oxford, there is a drawing of Giuliano 
which also shows him idealized and without a beard. 
Formerly attributed to Sebastiano del Piombo, the paint- 
ing seems more closely related to the work of Salviati.^ 
Wood. Oil. 38I inches high; 30I inches wide. 

SAN SEVERINO, LORENZO DA. Died 1503. Umbrian 
School. 
Pupil of Niccolo d'Alunno (da Foligno), influenced by 
Crivelli. 
34 Madonna and Child with Saints: Saint Mark and 

Saint Anthony on the Left, Saint Augustine and Saint 

Sebastian on the Right. 

Seated on a wooden throne before a golden background, 
the Virgin holds with her left hand the left foot of the 
Infant Christ, who stands on His mother's lap. With His 
right hand in benediction He bends over and holds out His 
left hand to Saint Mark, who kneels in an attitude of 
adoration at the foot of the throne. Saint Anthony, who is 
above Saint Mark, leans on his left hand and holds his 
staff in his right. On the other side of the throne kneels 
Saint Augustine, his white mitre beside him, while above 
him stands SaintSebastian with hands folded in adoration. 
The Madonna is dressed in a rich brocade trimmed with a 
golden border. Her mantle is black, and on her head is a 
white veil. The Child's frock is rose-colored. Saint Mark 
wears an ecru robe and a mantle of yellow. Saint Anthony 
a monk's dark cloak with hood. Saint Augustine, who has 
wavy blond hair, has on a figured red robe with golden 
border, while a rose-colored cap, with a feather in the 
front, completes the page's dress of Saint Sebastian. 
Behind the heads are golden nimbi with names of the 
personages inscribed. 

The Virgin unites with charm a nobility of expression that 
is marvelously represented by the artists at the end of the 
Fourteenth century and during the Fifteenth, but after- 
ward lost. The Infant, with His winning expression, can 

1 See the Virgin in the Holy Family, reproduced in Graphische K'u'nste, igi2, Bei- 
lage p. 68. 

94 



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be regarded as an intermediary type between the serious 
Infant who gives the benediction and the Infant who so 
sweetly fondles His mother. 

Wood. Tempera. 561: inches high; 33I inches wide. 

SIENESE SCHOOL. Late Fourteenth century. 
35 The Crucifixion. 

Against a gold background with a gold border of raised 
rosettes, such as are often seen in Sienese paintings, is the 
crucified Christ. At the foot of the cross kneels Mary 
Magdalene with flowing hair. She wears a red mantle hav- 
ing a narrow gold border. On one side is the Virgin, in a 
brown dress covered by a dark mantle that envelops her 
head, and, like her dress, falls in a straight line to her feet. 
Three stars adorn the mantle, one on each shoulder, and 
one on the head. Above the cross in a small red space are 
written the Christ letters, I N R I. 

A charming picture, simply composed but in the great 
style. The Christ has the calm, resigned expression of the 
representations of the Fourteenth century. The Virgin 
gazes before her, but notwithstanding her composed ex- 
terior, shows signs of deep suffering in her far-off look. 
Saint John and the Magdalene look up at the Christ with 
despairing love and longing. 

Wood. Tempera. I2i inches high; 5! inches wide. 

SIENESE SCHOOL. Early Fifteenth century. 
26 Virgin and Child. 

Against a golden background is the Virgin, with Jesus in 
her arms, the Child's face pressed close to hers, His hands 
clasping her neck. Two angels are placing a crown on her 
head. The Virgin, dressed in the Byzantine fashion, wears 
a red, figured mantle with a golden border, and her bodice, 
which is disclosed in front, has a golden band around the 
neck. The Child, in a long, faded green dress with figures 
of small golden flowers, is also dressed in the Byzantine 
fashion. The lower part of His body is enveloped in a yel- 
low material with golden stripes. 

Treated absolutely in the Byzantine manner, the picture 
contains all sorts of details which show that it could not 

95 



THE CLEVELAND MUSEUM 

have been painted earlier than the end of the Fourteenth 
century or the beginning of the Fifteenth. The smiling 
expression of the Child, as well as the landscape with the 
tree, indicates a later period. Types that approach this 
picture are two paintings by Ambrogio Lorenzetti, Vir- 
gin and Child, in the Academy of Siena, and Virgin and 
Child, in the Monastery of Siena.' 

Wood. Tempera. 15! inches high; iij inches wide. 

SODOMA, IL; real name GIOVANNI ANTONIO BAZZI, 

1477-1549, School of. Lombard School. 

37 Crucifixion. 

On the cross hangs the crucified Christ. His expression 
is calm. His body well-modeled. At the foot of the cross, 
dressed in a blue robe covered by a red mantle, and with 
flowing hair, kneels Mary Magdalene. To her right. Saint 
John, in a brown tunic and red mantle, stands with hands 
outstretched, sadly contemplating the Christ. His feet 
are bare, a characteristic of the saints and apostles. On 
the right of the cross, her face expressing profound suffer- 
ing, the fainting Virgin is supported by the Holy Women. 
This group is freely copied from Sodoma's Descent from 
the Cross, in the Siena Academy.^ The Virgin has on a 
red robe and a blue mantle with a hood, and her feet are 
shod, as she is never represented barefooted. The woman 
at the right wears a faded brown-violet tunic and a green 
mantle; the one at the left, a white scarf on her head and a 
brown shawl over her shoulders. The cut of the clothes is 
simple, and the way they fall from the shoulders recalls 
Perugino and his school. The colors harmonize well. The 
background panorama, largely composed of buildings, is 
in the Renaissance style. The sky is blue and well treated. 
From the standpoint of drawing, composition, and tech- 
nique, the picture as a whole is ably handled. 

Canvas. Oil, 23I inches high; i8i inches wide. 

ijacobsen, Emil: Sienesishe Kunstler der Trecento. PI. 15 and 20. 
^Jacobsen, Emil: Sodoma und das Cinquecento in Siena, PI. X. Mrs. Berenson in the 
Rassegna d'' Arte mentions this resemblance. 

96 



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TIEPOLO, GIOVANNI BATTISTA, 1696-1770. Venetian 
School. 

Pupil of Gregorio Lazzarini. Strongly influenced by 
Piazetta, and by the works of Paul Veronese. 

38 A Sketch for a Ceiling. 

Two angels are seen floating before a background of light 
greyish-green sky. One of them has two trumpets, one 
of which he blows. Below are figures of two women, one 
looking up at the angels as if she heard the sound of the 
trumpet, the other seeming to dream. To the right of the 
women is a huge rock behind which appears a sail. 
A beautiful little picture, fully expressing Tiepolo's style. 
The foreshortening of the angel, the delicate gradations of 
color, the drawing of the women — every least detail is 
worked out in his own particular manner. The idea may 
have been a preliminary one for the ceiling executed about 
1753, in the Rezzonico palace in Venice, which represents 
the Apotheosis of Jean Baptiste Rezzonico, father of Pope 
Clement XIII. ^ The group of angels is almost identical 
with the one in this fresco, but the rest of the picture 
differs from it. 

Canvas. Oil. 16^ inches high; 13! inches wide. 

VENETIAN SCHOOL. Sixteenth century. 

39 Portrait of an Old Man. 

Against a dark background stands the figure of a man, 
seen to the waist, holding a pair of gloves and a note-book 
in his perfectly modeled hands. He wears a black tunic 
with a high, close-fitting collar and a white collarette 
under a great black mantle with revers. His head is very 
expressive and well treated. The beard, moustache, and 
ears, are done with careful attention. 
This interesting portrait is very much in the manner of 
Tintoretto, the color as well as the treatment of the head 
and hands suggesting this opinion. 
Wood. 36I inches high; 25! inches wide. 

VENETIAN SCHOOL. Sixteenth century. 

40 Preparation for The Crucifixion. 

The scene is at the foot of a mountain near the city of 
Jerusalem. Christ, wearing the crown of thorns, is being 

1 Molmenti, Pompeo: Tiepolo. P.6i, pi. 45. 

97 



THE CLEVELAND MUSEUM 

Stripped of His garments to be crucified, while near the 
cross stands a soldier with a ferocious expression, holding 
a hammer in his right hand and a basket of nails in his 
left.^ Behind the soldier is a spectator who sympathizes 
with the Christ. On the other side of the cross are gath- 
ered four persons, one of whom, an old man with a mous- 
tache and a long beard, who wears a mantle with a hood, 
points to Christ, while he converses with a young man 
in a dark brown garment and red mantle, who also points 
to Christ. The old man is handing an oblong piece of 
wood, on which are written the Christ letters, I N R I, 
to the young man near him, who in turn looks at the sol- 
dier with a hammer. The old man appears to be a portrait 
of Paolo Veronese and the man behind the soldier, of 
Titian.^ Higher up, between the holy women, is the 
fainting Virgin. Spectators stand around. 
The picture is eloquent and interesting, the treatment be- 
ing distinctly Venetian, resembling in some respects the 
art of Veronese. 

Copper. Oil. 2iH inches high; iSyV inches wide. 

Not Exhibited. 

VENETIAN SCHOOL. Sixteenth century. 
41 The Woman Taken in Adultery. 

The background is a landscape in the Venetian manner 
with blue sky and houses. Christ, in a rose-colored gar- 
ment, half kneels, with His right hand on the ground, 
while, turning His head to the men behind. He points with 
a finger of His other hand to the woman taken in adultery. 
The woman, in a blue and white bodice, cut low, looks 
downward with an unhappy, repentant expression. Her 
eyes and nose are red as if from weeping. Around her 
stand her accusers in various poses and costumes, observ- 
ing the Christ, waiting to hear the sentence He will pro- 
nounce. Christ looks at them as if saying, "He that is 
without sin among you, let him cast the first stone. "^ 

Canvas. Oil. 13I inches high; 18 inches wide. 

Not Exhibited. 

^ Before the Fifteenth century, the preparation for the crucifixion was not represented. 
The theme first appeared in the mystery plays as a sequence in the life of Christ, influenced by 
the Meditations of Bonaventura. Male: UArt Religieux de la Fin du Moyen Jgf. p. 29. 

^ The portrayal of an artist was frequent in the Renaissance. 

8 John 8:7. 

98 



THE HOLDEN COLLECTION 

VENETIAN SCHOOL. Seventeenth century. 

42 Martyrdom of Saint Andrew. 

Against a landscape background, Saint Andrew, almost 
nude, kneels in prayer, his hands clasped, and looking at 
the cross in the distance, from which rays fall upon him. 
An executioner and two other men are observing him; 
one looking out in the direction of the cross, another 
holding Saint Andrew's arm while attempting to hide the 
instrument of death; and the third, with his head turned 
away, picking up a drapery with which, probably, to cover 
the Saint. 

Canvas. Oil. i6i inches high; 13^ inches wide. 

VERONESE, PAOLO; real name PAOLO CAGLIARI, 

1528-1588. Venetian School. 
Pupil of Antonio Badile, formed under the influence of 
Domenico Brusasorci. 

43 Marriage of Saint Catherine. 

Copy of the painting in the Uffizi, Florence. 
The Virgin, seated, holds in her lap the sleeping Jesus, 
whose head rests upon a pillow. Her beautiful face wears 
a serious, meditative, almost melancholy expression; 
with her left hand she is closing her rose-colored bodice 
as if she had just finished nursing the Child. A veil hangs 
from the back of her head, showing her brown hair, which 
is parted in the middle. Saint Catherine, with the palm 
leaf, bends over the Infant. A type of the rich Venetian 
lady of the period, she is sumptuously clothed in a striped 
silk dress, while her blond hair, arranged with strings of 
pearls and jewels, falls loosely down her back. In the lower 
right-hand corner, each showing just to the waist, stand 
Saint John the Baptist and Saint Joseph; the latter bends 
over Saint John, with his left hand on his shoulder. Saint 
John with his right hand holds the left foot of the sleeping 
Infant, which he kisses; in his other hand he holds the 
cross. 

This copy is a very exact one. 

Canvas. Oil. 19! inches high; 26! inches wide. 

99 



THE CLEVELAND MUSEUM 

VINCI, LIONARDO DA, 1452-15 19, School of. Floren- 
tine School. 
44 Virgin and Child. 

Her head in relief against a wall, the Virgin is seated with 
the Infant Jesus in her lap. She wears a purple robe and a 
yellow-lined mantle, which is cut low and clasped to- 
gether by a jeweled pin. Her head, with its wavy dark hair 
falling to her shoulders, is inclined to one side. The eyes, 
half-closed, give her face a meditative expression. The 
Child, nude and finely drawn, turns His well-modeled 
head towards His mother. 

On either side of the wall behind the Virgin's head are two 
windows through which are seen two fine landscapes; on 
the right, an Alpine lake scene with mountains; on the 
left an old castle with figures and animals minutely and 
correctly drawn. 

This attractive picture was ascribed in the Jarves cata- 
logue to Lionardo da Vinci, where several authorities 
are quoted to prove the attribution, Cav. Prof. Miglirini, 
Director of the Uffizi, Baron Gariod of the Turin Museum, 
Monsieur Rio, writer on art and the author of a Life of 
Lionardo, W. M. Rossetti, Holman Hunt and Baron 
Liphart. 

The history of the picture is as follows: "It was," accord- 
ing to Mr. Jarves, "in the possession of a certain Leopoldo 
Franceschi, a native of Saint Miniatello, near the birth- 
place and residence of Lionardo, Vinci, whence he derived 
his name. It was then without frame, dingy from dirt, and 
considered of small value. At his death it came into pos- 
session of a carpenter, by name of Monta, whose heirs sold 
it in 1857 for a trifling sum to Vincenzo Corsi, of Florence. 
He gave it to the well-known artist and restorer, Torello 
Bacri, to be cleaned. On the removal of the dirt it was 
found to be in excellent condition and a picture of much 
value. His bill was only three dollars, which is proof of 
the little work necessary to put it into good order. Seeing 
it soon after and believing it to be by Lionardo, I purchas- 
ed the entire collection, chiefly with the view of securing 
this painting."^ 
Wood. Oil. 165- inches high; I2i inches wide. 

^In the Jarves Catalogue, p. i8. 

100 



THE HOLDEN COLLECTION 

OTHER SCHOOLS. 

GELLEE, CLAUDE, called CLAUDE LORRAIN, 1600- 
1682. French School. 

Pupil of Agostino Tassi in Rome; of Claude Deruet in 
Nancy. 

45 Landscape. 

A landscape showing a stream in the foreground, several 
fine old trees, and a wooden bridge with a man, boy, and 
dog crossing it. To the right is a building toward which 
horsemen are approaching, and in the far distance the 
outlines of mountains are seen against a blue-grey sky. 
In the foreground, to the right, a man is seated. While 
this picture lacks the delicacy and lightness of many of 
Lorrain's landscapes, it is a good example of his art, and 
expresses in many respects the poetry of his treatment. 

Canvas. Oil. 29I inches high; 3711? inches wide. 

Exhibited in Gallery VL Painters. French. No. 16. 

DURER, ALBERT, 1471-1528 German School. 

46 Adoration of The Shepherds. 

The scene is an old ruin. In a small basket lies the Infant 
Jesus, quite nude, while around Him are little angels 
in adoration and the kneeling Virgin leaning over Him. 
The Virgin wears a robe and a mantle of a blue-green 
color, and over her head a scarf. To the right, in a red 
mantle with a hood, kneels Saint Joseph. His long face, 
long beard, and thick hair are very unhke the round-faced, 
short-bearded type which usually represents him. The 
candle which he holds naively suggests a night scene. 
Behind the Virgin stand two shepherds, much concerned 
about the great event. In the sky a floating angel an- 
nounces the miracle to the shepherds in the far distant 
landscape. The traditional ox and ass appear above the 
Child. The introduction of animals into scenes of the Na- 
tivity dates from early Christian times, although their 
presence was not mentioned by any of the evangelists. 
The theme was variously interpreted, but the apocryphal 
version of Pseudo Matthew^ was the one kept alive dur- 

1 See, for the representation of animals, Male: U Art Religieux au XIII Steele, and 
Melanges d' Archeologies et d' Histoire, Vol. IV., p. 335. 

lOI 



THE CLEVELAND MUSEUM 

ing the centuries, the hearts of men responding to the 
idea that their Saviour was welcomed by the humblest 
of animals at a time when He was ignored by men. 
This picture, every detail of which seems by the master, 
may be by a pupil of Diirer. The background and the 
personages are entirely in his style; indeed, the group with 
the Infant Jesus is freely imitated from the Nativity in 
the Munich Pinakothek, and the types of the Virgin and 
Saint John and one of the shepherds may be seen in the 
Adoration of the Magi and the Apostle in the Uffizi, and 
in the Madonna and Child in the Imperial Museum in 
Vienna. 

There was a monogram, A D, on the picture, but the fact 
that it has disappeared with the cleaning of the painting 
indicates that it was not in the painting originally. 

Canvas, transferred from wood. 22f inches high; 22 

inches wide. 

Exhibited in Gallery V. Painters. Dutch and Spanish. 

No. 2. 



JORDAENS, JACOB, 1 593-1678, School of. Flemish 
School. 

47 Landscape With Nude Figures and Cattle. 

The background shows a landscape, done in soft, dark 
tones, very characteristic of the Seventeenth century 
Flemish School. To the left, are seated three women 
and a man, nude with the exception of one of the women 
who is enveloped in a mantle which exposes her breast and 
one of her arms. They are apparently resting after a walk. 
To the right are a cow, and an old man, the latter dressed 
in blue drapery which covers part of his body and holding 
a long stick. In the far distance to the right are cattle. 
The picture is typical of Jordaens, especially in the treat- 
ment of the dimpled skin so characteristic of him.* 

Canvas. Oil. 31? inches high; 46! inches wide. 

Exhibited in Lobby of Gallery V. No. 10. 

IRooses, Maximilien: Jacob Jordaens, his life and work, p. 40. Martyrdom of Saint 
Appolonia, and p. 44, The Miracle of Saint Martin. 

102 



THE HOLDEN COLLECTION 

SNYDERS, FRANZ, 1579-1657. Dutch School. 
Pupil of P. Breughel. 
48 A Stork, a Hare and Some Fish Hung up in a Larder. 
Exhibited in Lobby of Gallery V. No. 19. 

SPRANGER, BARTHOLOMEUS (SPRANGER VAN 
DEN SCHILDEN), 1546-1611, Flemish School. 
Pupil of Jan Mandyns and of Dalem. Greatly influenced 
by Parmigianino. 
49 Allegorical Figures of Summer and Autumn, or Ceres 
AND Bacchus. 

On a pathway, the background to the left of which is 
decoratively draped with a curtain, a man and woman, 
almost life-size, are walking. He clasps her right hand in 
his left. The woman, Ceres, wears a short bodice edged 
by a broad band, from the ends of which hangs an orma- 
ment in the shape of a man's head, a drapery which 
covers her hips and falls in folds about her, exposing her 
right leg, and sandals. In her left hand she grasps a sickle, 
while sheaves of wheat, indicating the harvest season, 
are entwined in her hair. The man, Bacchus, is nude 
except for a piece of goat-skin which crosses his chest and 
covers his loins. The outer fur of the skin falls down his 
back, perhaps a reminder of the coming winter. His right 
hand, holding a bunch of grapes, the symbol of the vin- 
tage, rests against his hip. Leaves are entwined in his hair. 
Flowers lie on the ground at the feet of Ceres; fallen 
leaves, near Bacchus. 

First attributed to Tibaldeo Pellegrino, Mrs. Berenson 
believes this picture to be by Paolo Farinati, with strong 
traces of the influence of Liberale. It was, however, with- 
out doubt, done by Spranger,^ a painter at the court of 
Vienna. Another Ceres and Bacchus^ by Spranger is 
almost identical with this one, and it is only necessary to 
look at reproductions of the artist's other work to be 
convinced of the authorship of this. There is a drawing 

1 The writer is indebted to Mr. Bryson Burroughs for suggesting the name of Spranger. 

' Jahrbuch der Kunst Historischen Sammlungen. Article von Ernst Diaz; Der Hof- 
meister Bartholomeus Spranger. Fig. 14. Also analogies may be seen in Fig. 15, 25, 26 and 
the Tal. 17-19. 

103 



THE CLEVELAND MUSEUM 

in the British Museum said to be by Hendrick Goltzius' 
which shows these identical figures, but drawn only to 
the waist. Goltzius was essentially an engraver, and as he 
did little and poor work in painting, but reproduced many 
of Spranger's pictures,^ it would be natural to con- 
clude that this drawing was a reproduction of Spranger's 
painting, unless, indeed, one believes Spranger himself to 
be the author of the drawing. 

Canvas. Oil. 64I inches high; 39I inches wide. 

TENIERS,DAVID,T/;fyo«;z^^r,i6io-i690.FlemishSchool. 
Pupil of his father, David Teniers; influenced by Rubens 
and Brouwer. 

50 A Peasant Marriage. 

Through the open window of a large room, which has vari- 
ous accessories on the wall and the ceiling of which is sup- 
ported by a long wooden beam, is seen a landscape. An 
open door on the right also discloses a landscape. A wo- 
man, having a bonnet on her head and wearing an apron, 
is just entering the room. In her left hand she holds a plat- 
ter of food, in her right a jug. Many people with expres- 
sive faces and gestures fill the room and watch the newly 
married pair, who are dancing. A number of people are 
grouped round a table to the left. A woman holds in her 
left hand a shoulder of ham and in her right a knife. Next 
to her stands a man holding a jug full of beer, which he 
serves to the vivacious guests. Behind this group stands 
a youth, with a filled glass in his right hand, while with 
his left he flourishes a hat. Probably he is drinking the 
health of the newly married pair. A small dog is intro- 
duced as a spectator. The bride wears a white bonnet, a 
blue skirt, a white apron, and a cream bodice cut low, 
showing a white under-garment; the bridegroom, green- 
ish trousers, and a brown vest, opened slightly so as to 
show his white shirt. His cap is blue. 
The whole picture is full of movement, and has that in- 
tensity of life which is found in most of the Flemish pic- 
tures of this period. The execution is charming. There are 

'^ HandzeUhnungen Alter Meister der HoUandischen Schule. Ser. IV, lief. VI. Bl. 48. 
"^ Allgemeines Kunstler, Lexicon, by Hans Wolfgang Singer, T. II, p. 69. 

104 



THE HOLDEN COLLECTION 

certain analogies with Teniers' picture, Interior of a Flem- 
ish Peasant House, and especially with his picture, A 
Peasant Marriage, both in the Munich Pinakothek. The 
picture is signed: D. Teniers, J. E. 

Canvas. Oil. lyi inches high; 23I inches wide. 

Exhibited in Gallery V. Painters. Dutch and Spanish. 

No. 21. 

WOUWERMAN, PETER, 1623- 168 2. Flemish School. 
Pupil of his father Pauwel Jooster Wouwerman, and of 
his brother Philip. 

51 Landscape With Figures. 

Beneath a grey sky covered with clouds, a blacksmith's 
hut, a house, and a tree are seen to the left. The black- 
smith is hammering at his forge. In front of the house 
sits his wife; next to her at a low table is her little boy 
looking at some richly dressed cavaliers, with plumes on 
their heads, who have just stopped to have their horses 
shod. Two men are busy attending to them. To the right 
are people observing the scene. One is on crutches; an- 
other seems to have fallen down in his eagerness to see. 
In the far distance can be observed a horseman and a 
town with environing landscape. It is probably to this 
town that the cavaliers are bound. In the near fore- 
ground are two chickens and to the right, a barking dog. 
The landscape, which presents some analogies to the art- 
ist's Scene in the Stable of an Inn, in the Dresden Gal- 
lery, is well handled, the types being interesting, the move- 
ments carefully observed, and the perspective good. 

Canvas. Oil. lyi inches high; 22 inches wide. 

Exhibited in Gallery V. Painters. Dutch and Spanish. 

No. 25. 

SPANISH SCHOOL. Seventeenth century. 

52 Old Woman Asleep. 

Against a very dark background an old woman, holding a 
staff between her knees, and a pair of spectacles in her 
hands, is sitting asleep in an armchair covered with a light 
brown drapery. She wears a black bodice, and over her 
skirt a grey apron. On her head is a light yellow cloth 
105 



THE CLEVELAND MUSEUM 

which covers her forehead and the sides of her face, and 
falls to her shoulders. The open book on a table at her 
side indicates her occupation before she fell asleep. 
An interesting portrait, with a slight analogy to the paint- 
ings of Pablo Legote and a remote suggestion of the man- 
ner of Rembrandt. 

Canvas. Oil. 12I inches high; i6\ inches wide. 

Exhibited in Gallery V. Painters. Dutch and Spanish. 

No. 20. 

53 BUST. 

Bronze and Colored Marble. 
Italian. XVI century. 

54 VENETIAN CANDELABRA. 

XVI Century. 

The John Huntington Collection. 



106 



GALLERY V— PAINTERS 
DUTCH AND SPANISH 



BOL, Ferdinand. 
Born at Dordrecht, 1611. Died at Amsterdam, 1681. 
Studied under Rembrandt about 1630. His work when 
in the master's studio was often so good as to be mis- 
taken for that of Rembrandt. Later he became a bad 
imitator and his work greatly deteriorated. 

1 Portrait of a Man. 

Lent by Mr. Edward Drummond Libbey. 

DURER, Albert. 

2 Adoration of the Shepherds. 

The Holden Collection, No. 46. 

GOYA Y LUCIENTES, Jose de. 
Born at Fuendetodos in Aragon, 1746. Died at Bordeaux, 
1828. Entered the studio of Martinez at the age of sixteen. 
Went to Rome, returning to Spain in 1774. Was appointed 
court painter in 1795. 

3 Don Tadeo Bravo de Rivero. 

Lent by the F. Kleinberger Galleries. 

4 Marquesa de Bajamar. 

Lent by M. Knoedler and Company. 

EL GRECO; Dominico Theotocopuli, called. 
Born in Crete[?] between 1545 and 1550. Died at Toledo, 
1 6 14. Nothing positive is known of his birth and youth, 
but there is reason to believe that he studied under Titian 
in Venice before 1570, and that in that year he went to 
Rome. His methods would suggest the influence of Tinto- 
retto, even if he did not work in his studio. The Spanish 
ambassador in Rome was recruiting artists there for the 
decoration of the Escorial and El Greco may have gone 
to Spain in the hope of participating in this work. He 
seems to have been in Toledo by 1577. Soon after that 
time we find him executing important decorative works 

107 



THE CLEVELAND MUSEUM 

in that city, later in Madrid and other Spanish cities. 
Besides religious works he painted numerous portraits. 

5 Holy Virgin. 

Lent by the Ehrich Galleries. 

6 St. John. 

Lent by the Ehrich Galleries. 

HALS, Frans. 
Born at Antwerp[?] 1580. Died at Haarlem, 1666. The 
family returned to Haarlem before 1600. Probably a 
pupil of Van Noordt and Van Mander. His greatest works 
are in the Museum of the city where he died. 

7 Portrait of Wilhelm van Heythuysen. 

Lent by Mr. Charles L. Hutchinson. 

8 Portrait of a Young Man. 

Lent by the F. Kleinberger Galleries. 

9 The Flute Player. 

Lent by Mr. Edward Drummond Libbey. 

JORDAENS, Jacob, 1 593-1 678, School of. Flemish. 

10 Landscape with Figures and Cattle. 

The Holden Collection, No. 47. 

KAULBACH, Friedrich August von. 
Born in Hanover, 1850. 

11 A Shady Place, 

The Hinman B. Hurlbut Collection. 

MABUSE, Jean Gossaert, called. 
Born atMaubeuge, about 1472. Died at Antwerp, 1533. He 
was admitted as free master into the Guild of St. Luke at 
Antwerp in 1503. While there he fell under the influence 
of Quentin Matsys. In 1508 he went to Rome, where he 
remained until 1509. He is known to have resided and 
worked in many Flemish cities. 
\l Eleanor of Austria. 

Lent by Mr. Michael Dreicer. 

MURILLO, Bartolome Esteban. 
Born at Seville in 1617. Died there in 1628. Apprenticed 
to Juan del Castillo, a painter who was a relative of his. 
He went to Madrid in 1643 where he was treated with 
great kindness by Velasquez, then at the height of his 
reputation. As a result of Velasquez's instruction he 

108 



PAINTERS. DUTCH AND SPANISH 

abandoned the idea of going to study in Italy and in 1646 
' returned to Seville, where he lived and worked with in- 
creasing success till the end of his life. 

13 St. Joseph and the Child Jesus. 

Lent by the F. Kleinberger Galleries. 

POURBUS, Franz, the Elder. 
Born at Bruges in or before 1545. Died at Antwerp, 1581. 
Son of Peter Pourbus, whose pupil he was until 1562 when 
he went to Antwerp to the studio of De Vriendt. Was ad- 
mitted as free master into the Guild of St. Luke at Ant- 
werp and into that of Bruges in 1569. He painted religious 
subjects and portraits. 

14 Portrait of a Nobleman with Dog. 

Lent by the Ehrich Galleries. 

REMBRANDT, Rembrandt Harmenz Van Rijn, called. 
Born at Leyden[?] Died at Amsterdam, 1669. The son 
of a well-to-do miller, he was sent to the university of his 
native city in 1620, where, however, he did not stay long, 
being apprenticed to Jacobson Swanenbruch, a painter of 
no great mark. In 1624 he removed to Amsterdam, and 
entered the studio of Pieter Lastman. Not sympathizing 
with his method, Rembrandt returned to Leyden in the 
same year, and set himself to form his own style. Here he 
worked until 163 1, when he removed finally to Amster- 
dam, where he lived until his death. 

15 Saskia as Minerva. 

Lent by Mr. Breckenridge Long. 

16 Portrait of Himself. 

Lent by Mr. Edward Drummond Libbey. 

17 Portrait of Himself. 

Lent by Mr. Frank G. Logan. 

RUBENS, Sir Peter Paul. 
Born at Siegen, 1577. Died at Antwerp, 1640. His father, 
a lawyer and alderman of Antwerp, was living in Westpha- 
lia in political and religious banishment. After his death 
in 1587 the family returned to Antwerp, ruined. Rubens 
began his studies in the studio of Verhoecht and later in 
that of Van Noordt. He set out for Italy in 1600. In Venice 
he met the Duke of Mantua, who became his patron; 

109 



THE CLEVELAND MUSEUM 

with him he went to Florence and Rome, returning to 
Mantua in 1602. The next year he was sent on a dip- 
lomatic mission to the court of Spain. He returned to 
Mantua and, still in the Duke's service, to Rome. Here 
he remained till 1608, when he went back, and settled in 
Antwerp where he became court painter to the Archduke, 
and his work was very popular. In 1622 Marie de Medici, 
Queen of France, invited him to Paris. He was there again 
in 1625. In 1628 he went again to Spain as diplomatic 
agent of the Infante Isabella, governor of the Nether- 
lands. While there he painted King Philip IV and others 
about the court. In 1629 he was dispatched to London 
as secretary of the privy council of the Netherlands. 
Having concluded the mission with which he was charged 
he was knighted by King James I and returned home. The 
rest of his life was spent in painting and diplomacy. 
Despite the constant interruptions to his artistic labors 
more than 2250 pictures are known to have been painted 
by him besides nearly 500 drawings. 

18 Meleager offering the Head of the Boar of Calydon to 

Atalanta. 

Lent by the Kleinberger Galleries. 

SNYDERS, Franz. 
1579-1657 Dutch School. Pupil of P. Breughel. 

19 A Stork, a Hare and some Fish hung up in a Larder. 

The Holden Collection, No. 48. 

SPANISH SCHOOL. 

20 Old Woman Asleep. 

The Holden Collection, No. 52. 

TENIERS, David, The Younger. 
11 A Peasant Marriage. 

The Holden Collection, No. 50. 

TER BORCH, Gerard. 
Born at ZwoUe, 1617. Died at Deventer, 1681. Studied 
under his father who was a painter; later at Haarlem 
under Pieter Molijn from 1632 to 1635. In the latter year 
he went to England and then to Italy. About 1641 he re- 
turned to Amsterdam. In 1646-1648 he was at iVIiinster 
and painted the picture of the Ratification of the Treaty of 

no 



PAINTERS. DUTCH AND SPANISH 

Miinster. Thence he went to Spain where he was received 
with honor by Phihp IV and knighted by him. He visited 
France on his way home and hved from 1650-1654 at 
Zwolle, removing in the latter year to Deventer, where he 
resided for the rest of his life. 
11 Portrait of a Lady. 

Lent by the Ehrich Galleries. 

VAN DER HEYDEN, Jan. 

Born at Gorinchem, 1637. Died at Amsterdam, 17 12. His 
only instruction was a few desultory lessons from a glass 
painter. He traveled and painted in Belgium, Germany 
and England. The figures in his pictures are usually by 
Adrian Van de Velde. 

23 Chateau and Garden. 

Lent by the F. Kleinberger Galleries. 

VELASQUEZ, Diego Rodriguez da Silva y. 
Born at Seville, 1599. Died in Madrid, 1660. Became a 
pupil of Herrera and afterwards of Pacheco, and became 
distinguished as a painter while still in his teens. In 1622 
he went to Madrid, and in 1623 was appointed painter to 
Philip IV. On the advice of Rubens, who visited Madrid in 
1628, Velasquez went to Italy, where he remained from 
1629 to 163 1. In 1649 he revisited Italy, returning to 
Spain in 165 1. He was appointed grand marshal of the 
palace in 1652 and in 1659 was made a Knight of Santiago. 

24 Man with a Wine Glass. 

Lent by Mr. Edward Drummond Libbey. 

WOUWERMAN, Jan. 

25 Landscape with figures. 

The Holden Collection, No. 51. 



Ill 



GALLERY VI— PAINTERS. FRENCH 



BELLE, Alexis Simon. 
Born in Paris, 1674. Died there in 1734. Pupil of Fran9ois 
de Troy. Member of the Academy 1703. Popular court 
painter. 

1 Portrait of the Daughter of Louis XV. 

Lent by the F. Kleinberger Galleries. 

BOUDIN, Eugene. 
Born at Honfleur in 1835. Died 1898. 

2 A Trouville. 

3 A Trouville. 

4 Au Bord de la Mer. 

Lent by Mr. Albert Rosenthal. 

BRETON, Jules Adolphe. 
Born at Courrieres, Pas-de-Calais, 1827. Died 1906. Offi- 
cier of the Legion d' Honneur 1876. 

5 The Tired Gleaner. 

The Hinman B. Hurlbut Collection. 

CABANEL, Alexandre. 
Born at Montpelier, 1823. Died in Paris, 1889. Entered 
Picot's studio in Paris and gained the Prix de Rome in 
1845. On his return to Paris he became the fashionable 
portrait painter of the court of Napoleon IIL His vogue 
continued after the fall of the Empire, and he was a most 
popular teacher. 

6 Genoveva Amieri. 

The Hinman B. Hurlbut Collection. 

COROT, Jean Baptiste Camille. 
Born at Paris, 1796. Died there 1875. Began exhibiting in 
1827. Was decorated with the Legion d' Honneur in 1846, 
made Officier in 1867. At the age of twenty-two became 
a student of art in Paris, and subsequently in Italy. 

7 Morning on the Lake. 

Lent by the Messrs. R. C. and N. M. Vose. 

113 



THE CLEVELAND MUSEUM 

8 L'Etang aux Villas. 

Lent by the Hackley Gallery of Fine Arts. 

9 La Bacchanal a la Source, Sunseuir de Marly-le-Roy. 

Lent by Mrs. Robert D. Evans. 

DAUMIER, Honore. 
Born at Marseilles, 1808. Died at Valmondois, 1879. 
Famous for his satires and caricatures, one of which, on 
Louis Philippe, caused his imprisonment in 1832. Between 
1850 and i860 he became totally blind. 

10 The Siesta. 

Lent by the Brooklyn Museum. 

DAVID, Jacques Louis. 
Born at Paris, 1748. Died at Brussels, 1825. A nephew of 
Boucher from whom he received his first instructions. 
He became pupil of Vien, and in 1774 obtained the Prix de 
Rome. He returned from Italy in 1780 and was elected to 
the Academy in 1783. He took part in the government at 
the Revolution and was thrown into prison at the fall of 
Robespierre. He was an original member of the Institut 
and became first painter to the Emperor Napoleon. On 
the fall of his friend and patron he fied to Brussels, where 
he lived until his death. 

1 1 Portrait of a Prefect of Police. 

Lent by the Ehrich Galleries. 

DIAZ DE LA PENA, Narcisse Virgille. 
Born at Bordeaux, 1808. Died at Mentone, 1876. Cheva- 
lier of the Legion d' Honneur. 

12 In the Forest of Fontainebleau, 

Lent by the Hackley Gallery of Fine Arts. 

13 Landscape. 

The Hinman B. Hurlbut Collection. 

HARPIGNIES, Henri. 
Born at Valenciennes 18 19. Decorated with the Legion 
d' Honneur in 1875; Officier 1883. 

14 An Old Oak. 

Lent by Messrs. Knoedler and Company. 

114 



PAINTERS. FRENCH 

LE NAIN, Mathieu. 
Born at Laon, 1607. Died in Paris, 1677. He and his 
brothers were all painters and worked together in Paris 
from about 1630. They became members of the Academy 
in 1648 in which year the other brothers died. Mathieu 
painted portraits and religious subjects. 

15 Portrait of Henri Coiffier Ruze d'Effiat, Marquis de 
Cinq Mars. 

Lent by Mr. E. Hodgkins. 
Exhibited in the Court of Tapestries. 

GELLEE, CLAUDE, called CLAUDE LORRAIN. 

16 Landscape. 

The Holden Collection, No. 45. 

MANET, Edouard. 
Born in Paris, 1832. Died there in 1883. A pupil of Cou- 
ture, he traveled extensively in Europe after leaving his 
master and was deeply impressed by the works of Velas- 
quez. About 1863 he became the acknowledged leader 
of the school afterwards styled "Impressionistes." Dec- 
orated with the cross of the Legion d' Honneur. 

17 The Music Lesson. 

Lent by Messrs, Knoedler and Company. 

MILLET, Jean Frangois. 
Born in Normandy, 18 14. Died at Barbizon, 1875, His 
first instruction was received from Langlois at Cher- 
bourg in 1832. He was given a small pension by the Muni- 
cipal Council to study in Paris, where he went, entering 
Delaroche's studio in 1837. He exhibited for the first time 
at the Salon in 1840. Returning to Cherbourg in the same 
year he supported himself by painting portraits. He revis- 
ited Paris in 1842 and 1845, settling finally at Barbizon 
in 1 849. He was decorated with the Legion d' Honneur in 
1868. 

18 The Seated Spinner. 

Lent by Mrs. Robert D. Evans. 

MONET, Claude. 
Born in Paris in 1824. Pupil of Gleyre for a month, since 
self-taught. 

19 Mount Kolsaas. 

Lent by Mrs. Chauncey J. Blair. 

115 



THE CLEVELAND MUSEUM 

MONTICELLI, Adolphe. 
Born at Marseilles in 1824. Died there in 1886. Received 
his early training in the Art School of Marseilles. Settled 
in Paris in the forties and became intimate with Diaz. 
He was very popular under the second Empire and re- 
tired at its fall to his native city where he lived until his 
death. 

■21 A Garden Party. 

22 The Christening Party. 

23 The Burning of Sodom. 

24 Sylvan Dance. 

25 The Bohemians. 

26 The Star of Bethlehem. 

27 On the Riverbank. 

28 Un Concert Sylvestre. 

29 A Sylvan Ceremony. 

30 Feeding the Chickens. 

31 Fete Champetre. 

32 The River, Twilight. 

Lent by the Messrs. R. C. and N. M. Vose. 

PUVIS DE CHAVANNES, Pierre Cecile. 
Born at Lyons, 1824. Died in Paris, 1898. Went to Italy 
as a youth and studied there with Henri SchefFer. Re- 
turning to Paris he worked under Delacroix and Couture; 
but soon abandoned the classic tradition and proceeded 
to work out his theories alone. Commander of the Legion 
d'Honneur. 

23 Christian Inspiration. 

Lent by Mrs. Chauncey J. Blair. 

ROUSSEAU, Pierre Etienne Theodore. 
Born at Paris, 18 12. Died at Barbizon, 1867. 
34 Landscape. 

Lent by the Hackley Gallery of Fine Arts. 

116 



PAINTERS. FRENCH 

ROYER, Henri. 
25 Portrait of Hon. Myron T. Herrick. 
Lent by Mrs. Herrick. 

TOCQUE, Louis. 
Born in Paris, 1696. Died there 1772. Studied under Ber- 
tin and Rigaud. He became a member of the Academy in 
1734. He was invited to the Russian court where he spent 
two years, going thence to the Danish. 

36 Portrait of Comte de Berlaimont. 

Lent by the Ehrich Galleries. 

TROYON, Constant. 
Born at Sevres, 18 10. Died in Paris, 1865. Chevalier of the 
Legion d' Honneur. 

37 Return from the Fields. 

The Hinman B. Hurlbut Collection. 

VAN LOO, Jean Baptiste. 
Born at Aix in 1684. Died there in 1745. Pupil of his 
father, Louis Van Loo. Visited and worked in Italy, Paris 
and England where he was most successful for a time. 
Member of the Academy of Paris, 1740. 

38 Portrait of a Cardinal. 

Lent by the Ehrich Galleries. 

VIBERT, Jean Georges. 
Born in Paris, 1840. Died there, 1904. 

39 Asking Alms. 

The Hinman B. Hurlbut Collection. 



117 



GALLERY VII— PAINTERS. ENGLISH 



BEECHEY, Sir William, R.A. 
Born at Burford, 1753. Died at Hampstead, 1839. Stu- 
dent of the Royal Academy in 1772. Painted at first in 
the manner of Hogarth at Norwich. On settling in Lon- 
don he became fashionable, and in 1793 court painter. 
He was knighted and became Royal Academician in 1798. 

1 Portrait of Mrs. Ashley. 

Lent by the Messrs. R. C. and N. M. Vose. 

CONSTABLE, John, R.A. 
Born at East Bergholt, 1776. Died in London, 1837. Stu- 
dent at the Royal Academy, 1799. Exhibited his first pic- 
tures there in 1802. Three of his paintings made a great 
impression at the Paris Salon in 1 8 24 and contributed to the 
rise of the Barbizon school. Elected Royal Academician 
in 1829. 

2 Arundel Mill and Castle. 

Lent by Mr. Edward Drummond Libbey. 

GAINSBOROUGH, Thomas, R.A. 
Born at Sudbury, 1727. Died in London, 1787. When he 
was fifteen he was sent to London and learned etching 
from Gravelot, an engraver. He studied painting under 
Hayman. In 1745 he returned to Sudbury and set up as 
a portrait-painter; he removed to Ipswich in 1746 and in 
1760 to Bath, where he became very successful. He was 
one of the original twenty-six Royal Academicians on 
the foundation of that Institution in 1768. He left Bath 
in 1774 for London. By 1779 he was only rivalled in popu- 
larity by Sir Joshua Reynolds. 

3 Portrait of Mr. Provis. 

Lent by the Ehrich Galleries. 

4 Portrait of Mrs. Provis. 

Lent by The Bevan Collection, England. 

5 Portrait of Lady Ferrers. 

Lent by The Bevan Collection, England. 

119 



THE CLEVELAND MUSEUM 

HOGARTH, William. 
Born in London, 1697. Died there in 1764. Apprenticed to 
a silversmith and engraver in about 171 2. Designed and 
engraved illustrations, cards, etcetera. About 1727 he be- 
gan to be known as a painter in oils. In 1729 he married 
the daughter of Sir James Thornhill, a prominent painter 
of the day. His most famous satirical works, painted and 
in a great measure engraved by himself, were produced 
between 1732 and his death. 

6 Portrait of a Young Woman. 

Lent by Mrs. Frank D. Millet. 

7 Portrait of Anne, Viscountess Irwin. 

Lent by the Hackley Gallery of Fine Arts. 

8 Portrait of Mrs. William James. 

Lent by The Worcester Art Museum. 

HOPPNER, John, R.A. 
Born in London, 1758. Died there in 18 10. Student at the 
Royal Academy in 1775. Began exhibiting in 1780. Royal 
Academician in 1795. 

9 Portrait of the Countess of Oxford and Child. 

Lent by Messrs. Knoedler and Company. 

10 Portrait of John Frere. 

Lent by the Hackley Gallery of Fine Arts. 

KNELLER, Sir Godfrey, bart. 
Born at Liibeck, 1646. Died at Twickenham, England,' 
1723. Studied painting in Amsterdam under Rembrandt 
and Bol. In 1672 he went to Rome, and became a pupil of 
Carlo Maratti and Bernini. He also studied in Venice. He 
returned to Hamburg, whence in 1674 he went to London. 
He became court painter to Charles II, James II and 
William III. 

1 1 Portrait of Sir Charles Sedley, English poet, playwright 
and wit. Born, 1639. Died, 1701. 

Lent by the Messrs. R. C. and N. M. Vose. 

12 Portrait of Mrs. Fisher, of Packington, Warwick. 

Lent by the Messrs. R. C. and N. M. Vose. 

120 



PAINTERS. ENGLISH 

LAWRENCE, Sir Thomas, P.R.A. 
Born at Bristol, 1769. Died in London, 1830. Became a 
successful portrait artist almost in his childhood, support- 
ing his family by making portraits in pastel at Bath at the 
age of ten. Entered the Royal Academy schools in 1787 
and in 1792 was appointed portrait-painter in ordinary 
to the King. Royal Academician in 1794. Knighted in 
18 15. President of the Royal Academy in 1820. 

13 The Irish Beauty. 

Lent by Mr. Albert Rosenthal. 

14 True Love. 

Lent by the Ehrich Galleries. 

15 Portrait of Miss Carrington. 

Lent by Mrs. Robert D. Evans. 

LELY, ^z> Peter. 
Born at Soest, 1618. Died in London, 1680. Studied at 
Haarlem. On the death of Vandyke in 1640 he visited 
England, where he met with favor by imitating that mas- 
ter. He was presented to Charles I, whose portrait he 
painted in 1643. He also painted Cromwell, but it was 
not until the Restoration that he achieved his greatest 
successes. Charles II made him court painter, and knight- 
ed him in 1679. 

16 Lady in Yellow Satin Dress. 

Lent by Messrs. Knoedler and Company. 

RAEBURN,6'/r Henry, R.A. 

Born in Edinburgh, 1756. Died there in 1823. Began as a 
miniature painter at the age of 16. On Reynolds' advice 
he went to Rome in 1785, returning to Edinburgh in 1787. 
Royal Academician, 18 15; knighted, 1822. 

17 Portrait of Mrs. Margaret Mair. 

Lent by the Messrs. Lewis and Simmons. 

18 Portrait of John Wauchope. 

Lent by Mr. Albert Rosenthal. 

19 Portrait of Lady Inglis. 

Lent by the Ehrich Galleries. 

20 Portrait of the Reverend David Campbell. 

Lent by Messrs. Knoedler and Company. 

121 



THE CLEVELAND MUSEUM 

21 Portrait of Sir William Napier. 

Lent by the Hackley Gallery of Fine Arts. 

22 Portrait of Lady Janet Traill. 

Lent by Mr. Edward Drummond Libbey. 

REYNOLDS, Sir Joshua, P.R.A. 

Born at Plympton, Devonshire, 1723. Died in London, 
1792. Went to London in 1740, and studied under Thomas 
Hudson, the foremost portrait painter of his day. Re- 
turned to Plymouth in 1743, and to London again in 
1744. In 1749 Commodore, afterwards Admiral Keppel, 
took him in his vessel to Italy. He visited Leghorn and 
Florence, and stayed in Rome for two years, returning to 
London via Paris in 1752. Here he settled, becoming the 
most popular painter of his day and universally regarded, 
as he was, the greatest of English portrait painters. In 
1768, on the foundation of the Royal Academy, he became 
its first President as a matter of course. His early works 
up to 1760, were painted in a blue monochrome, which 
was afterwards glazed with transparent color. These hav- 
ing often faded, the cool underpainting predominates. His 
later works were painted direct without this glazing and 
have faded but little. 

23 Portrait of Miss May Townshend. 

Lent by Messrs. Knoedler and Company. 

24 Portrait of Lord George Sackville. 

Lent by Messrs. H. Reinhart and Son. 

25 Portrait of Himself. 

Lent by Mr. Edward Drummond Libbey. 

26 Isabella Carr, of Etat, Northumberland. 

Lent by Mrs. G. M. Whitin. 

ROMNEY, George. 
Born at Dalton-in-Furness, 1734. Died at Kendal, 1802. 
Worked at first in his father's cabinet shop. Apprenticed 
in 1755 to one Steele, a portrait painter at Kendal. Be- 
gan his career there, but went to London in 1762. Studied 
for a while in Paris in 1764. Visited Italy in 1773, return- 
ing in 1775. Settling there, he became so popular that 
"the town was divided into the Romney and Reynolds 
factions." 

122 



PAINTERS. ENGLISH 

27 Study of Lady Hamilton. 

Lent by the Ehrich Galleries. 

TURNER, Joseph Mallord WiUiam,_R.A. 
Born in London, 1775. Died there in 1851. He drew and 
painted from childhood. He was placed, according to tra- 
dition, with an architectural draughtsman; early in his 
teens he was employed coloring prints. Sketched with Gir- 
tin and perhaps had some hints in oil painting from Sir 
Joshua Reynolds. In 1789 he entered the Academy 
schools and soon after began a long series of drawings for 
engravers. His search for subjects took him all over Great 
Britain. He was elected Associate of the Royal Academy 
in 1799 and Academician in 1802. In the same year he 
made his first visit to the Continent, and it was not till 
18 19 that he first saw Italy, 

28 View in Venice. 

Lent by Mrs. M. Cameron Goode. 

VAN DYCK, Sir Anthony. 

Born in Antwerp, 1599. Died in London, 1641. At the age 
of ten he was apprenticed to Van Balen and at sixteen 
he became a pupil, and later an assistant, of Rubens. In 
161 8 he was admitted into the Guild of St. Luke. He left 
Rubens and went to London in 1620 but was back in 
Antwerp in the next year on his way to Italy. He stayed 
there, chiefly at Genoa, until 1626; returning to his native 
city to find himself famous. In 1632 he was invited to 
England by Charles I. Made painter in ordinary to the 
King and knighted. He had apartments in the royal pal- 
ace of Blackfriars and became the most fashionable, as 
indeed he was the only great, painter in the country at the 
time. In 1634-1635 he visited Brussels and in 1640 Ant- 
werp and Paris, but returned to London to die. 

29 Portrait of the Countess of Southampton. 

Lent by Mr. Albert Rosenthal. 

30 Portrait of Sir Thomas Chaloner. 

Lent by the Ehrich Galleries. 

31 Portrait of Queen Henrietta Maria. 

Lent by The Bevan Collection, England. 

123 



THE CLEVELAND MUSEUM 

32 Portrait of the Earle of Kennoul. 

Lent by M. Knoedler and Company. 
Exhibited in the Court of Tapestries. 

WATTS, George Frederick, R.A. 
Born in London, 18 17. Died at Guildford, 1904. Entered 
the schools of the Royal Academy in 1835, but soon left 
and studied for a short time with William Behnes, a sculp- 
tor. Having progressed enough to exhibit some portraits 
in the Academy in 1837, he entered a competition, in 
1842, for the decoration of the palace of Westminster, in 
which he won a prize. With the money he earned, he went 
to Italy, where he settled for a time in Florence, returning 
home in 1847. For the rest of his long life, he worked 
arduously at painting and sculpture, in both of which arts 
he won eminence. 

22 Portrait of Joseph Joachim, the violinist. 
Lent by Mr. Charles L. Hutchinson. 

34 CONSOLE. 

Frame of wood carved and gilt. Top Breche Violette 
marble. 

English. XVIII Century. 

The John Huntington Collection. 



124 



GALLERY VIII— PAINTERS. AMERICAN 



AMERICAN PAINTERS OF THE NINETEENTH 
CENTURY 

BIERSTADT, Albert, N.A. 
Born at Diisseldorf, 1830. Died in New York, 1902. Came 
to the United States as a child. 

1 Starr King Mountain, California. 

Lent by the Messrs. R. C. and N. M. Vose. 

2 The Storm. 

Lent by the David Gallery. 

BROWN, John George, N.A. 

Born at Durham, England, 1831. Died in New York, 1903. 
. Studied in the Art School at New Castle and at the Royal 

Academy. Came to America in 1853. 

3 Cold Comfort. 

The Hinman B. Hurlbut Collection. 

BUTLER, George G., N.A. 
Born, 1873. Died, 1907. 

4 A Capri Lace Maker. 

Gift of Miss H. C. Butler. 

CHURCH, Frederic E., N.A. 
Born at Hartford, Conn,, 1826. Died in New York, 1900. 
Pupil of Thomas Cole. 

5 The Monastery of Our Lady of the Snows. 

The Hinman B. Hurlbut Collection. 

COLE, Thomas, N.A. 
Born at Bolton-le-Moors, Lancashire, 1801. Died at Cat- 
skill, N. Y., 1848. Of American parentage. Follower of 
Durand. 

6 Landscape. 

Lent by the Holland Galleries. 

7 Landscape. 

Lent by the Ehrich Galleries. 

125 



THE CLEVELAND MUSEUM 

De HAAS, Mauritz F. H., N.A. 
Born at Rotterdam in 1832. Died, 1895. Began painting 
in Holland; later worked in England. Came to America 
in 1858. 

8 View off Appledore Island. 

The Hinman B. Hurlbut Collection. 

DURAND, Asher Brown, N.A. 
Born at South Orange, N. J., 1796. Died in that city, 1886. 
Began life as an engraver; became a landscape painter in 

1835. 

9 Scene Among the Berkshire Hills. 

The Hinman B. Hurlbut Collection. 

FULLER, George, A.N.A. 
Born at Deerfield, Mass., 1822. Died in Boston, 1884. 
Studied in Boston, New York and in Europe. Began as an 
itinerant portrait painter. Made an Associate of the Acad- 
emy of Design in 1857, but soon abandoned his profession 
for farming in his native place, painting merely as a so- 
lace. In 1876 he exhibited again in Boston with great 
success. 

10 Fedalma. 

Lent by the Messrs. R. C. and N. M. Vose. 

11 Portrait. 

Lent by Mrs. John R. Van DerHp. 

HART, James McDougal, N.A. 
Born at Kilmarnock, Scotland, in 1828. Died, 1901. 
Brought to America as a child. Pupil of his brother, 
William Hart. Lived in New York. 

12 Landscape. 

The Hinman B. Hurlbut Collection. 

HART, William, N.A. 
Born at Paisley, Scotland, 1823, Died at Mount Vernon, 
N. Y., 1894. Came to America in early youth. 

13 Autumn. 

The Hinman B. Hurlbut Collection, 

126 



PAINTERS. AMERICAN 

HAYS, William J. 
Born in New York, 1830. Died there 1875. 

14 Deer. 

HOMER, Winslow, N.A. 

Born in Boston, 1836. Died at Scarboro', Me., 1910. At 
the age of nineteen he became a lithographer in Boston. 
In 1859 he entered the school of the National Academy 
of Design in New York; became an Associate in 1804, 
and an Academician in 1865. During the Civil War he 
was artist for Harpers'. In his later years he lived and 
painted chiefly in Maine. 

15 Storm on the Maine Coast. 

Lent by Mrs. Chauncey J. Blair. 

16 The Guides. 

Lent by Mrs. Chauncey J. Blair. 

17 The Flight of Wild Geese. 

Lent by Mrs. Roland C. Lincoln. 

HUNT, William Morris. 
Born at Brattleboro, Vt., 1824. Died at Appledore, N. H., 
1879. Studied first at the Royal Academy, London; later 
at Diisseldorf with the intention of becoming a sculptor. 
He studied painting under Couture in Paris, and worked 
at Barbizon with the famous landscape painters of that 
school. He returned to the United States in 1855 and set- 
tled in Boston. 

18 La Marguerite. 

Lent by Mrs. Roland C. Lincoln. 

ISHAM, Samuel, N.A. 
Born in New York, 1855. Died at Easthampton, L. I., 
1914. Studied in Europe for three years, but on his re- 
turn to the United States practiced law for some years. 
In 1883 he returned to Paris, studying under Boulanger 
and Lefebvre. He wrote the most complete history of 
American painting extant. 

19 Old Sea Captain. 

Presented from the Estate of Samuel Isham, N.A., in 
accordance with his wishes. 

127 



THE CLEVELAND MUSEUM 

INNESS, George, N.A. 
Born at Newburgh, N. Y., 1825. Died at Bridge-of-Allan, 
Scotland, 1894. Began as an engraver in New York at the 
age of sixteen. Took to landscape painting in 1846 and 
went abroad in 1850. In Paris he worked in company with 
Corot, Rousseau and Millet. He returned to New York and 
was elected to the National Academy in 1868. 

20 The Land of Plenty. 

Lent by Messrs. Snedecor and Company. 

21 A Sunny Autumn Day, 

Lent by Mrs. Chauncey J. Blair. 

22 Early Recollection. 

Lent by Mr. George H. Ainslie. 

23 The Juniata River, 

Lent by Mr. George H. Ainslie. 

24 Early Spring, 

Lent by Mr. George H. Ainslie. 

25 Autumn Woodlands. 

Lent by Mr. George H. Ainslie. 

26 The Setting Sun, 

Lent by Mr. Breckenridge Long. 

27 September Noon. 

Lent by Mr. J. K. Secor, 

JOHNSON, Eastman, N,A, 
Born at Lovell, Maine, 1824. Died in New York, 1900. 
In 1849 he went to study at Diisseldorf, The Hague and 
Paris, returning in 1856. 

28 Winding Yarn. 

29 The Fisherman. 

The Hinman B. Hurlbut Collection. 

LA FARGE, John, N.A. 
Born in New York, 1835. Died at Providence, 1910. He 
spent his youth at Newport, L. I., but at the age of 
twenty-one went to Paris and entered Couture's studio. 

30 A Boy and His Dog. 

Lent by the Messrs. R. C. and N. M. Vose. 

31 Woman Centaur. 

Lent by the Brooklyn Museum. 

128 



PAINTERS. AMERICAN 

MORAN, Thomas, N.A. 
Born at Bolton, Lancashire, 1837. 
32 Ft. George Island, Coast of Florida. 

The Hinman B. Hurlbut Collection. 

McENTEE, Jervis, N.A. 
Born at Rondout, N. Y. 1828. Died there in 1891. Pupil of 
Frederic E. Church. 
23 September Day. 

The Hinman B. Hurlbut Collection. 

NEAL, David. 

Born at Lowell, Mass., in 1837. Died . Worked as a wood 

engraver. Went to Munich in 1861. Lived and painted 
mostly in that city. 

34 Nun at Prayer. 

The Hinman B. Hurlbut Collection. 

RICHARDS, William T., Hon. N.A. 
Born in Philadelphia, Pa., 1833. Died at Newport, R. L, 
1905. 

35 June Day. 

The Hinman B. Hurlbut Collection. 

36 Sand Dunes, Atlantic City. 

Lent by Mr. Albert Rosenthal. » 

RYDER, Albert, N.A. 
Born at New Bedford, in 1847. Died . Practically self- 
taught, though he studied for a short time at the Academy 
Schools in New York. 

37 The Stable. 

Lent by Mr. William Macbeth. 

TAIT, Arthur F., N.A. 

Born near Liverpool, England, 18 19. Died . Self-taught. 

Went to New York in 1850. 

38 Deer. 

The Hinman B. Hurlbut Collection. 

WHISTLER, James McNeill. 
Born at Lowell, Mass., 1834. Died in London, 1903. En- 
tered West Point 1850. Discharged, 1854. In 1855 he went 
to Paris where he studied in Gleyre's studio. After four 
years in Paris he began to divide his time between that 

129 



THE CLEVELAND MUSEUM 

city and London, where he finally settled in 1863. He 
visited Venice in 1870-80. In 1886 he was elected President 
of the Royal Society of British Artists. In 1 892 he revisited 
Paris, but finally returned to London in 1896. 

39 Study in Rose and Brown. 

Lent by the Hackley Gallery of Fine Arts. 

40 The White Girl. 

Lent by Mr. Harris Whittemore. 

41 The Thames. 

Lent by Mr. Harris Whittemore. 

42 The Sea. 

. Lent by Mr. Harris Whittemore. 

43 L'Andalusienne. 

Lent by Mr. Harris Whittemore. 

WYANT, Alexander H., N.A. 
Born at Port Washington, 1839. Died in New York, 1892. 

44 In the Still Forest. ' 

Lent by the Worcester Art Museum. 



130 



GALLERY IX— PAINTERS 
AMERICAN. CONTEMPORARY 

ADAMS, J. Ottis. 
I Evening. 

ADAMS, Wayman. 
1 Booth Tarkington. 

Lent by Mr. Tarkington. 

ADAMS, Winifred. 

3 Spring Still Life. 

ALLEN, Thomas, A.N.A. 

4 In the Eye of the Wind. 

ANDERSON, Karl, A.N.A. 

5 The Captured Firefly. 

Lent by Mrs. Chauncey J. Blair. 

BALLIN, Hugo, A.N.A. 

6 The Cup of Life. 

BEAL, Gifford R., N.A. 

7 Autumn in the City. 

BEAUX, Cecilia, N.A. 

8 The Silver Box. 

Lent by Miss Francesca Gilder. 

BECKWITH, Carroll, N.A. 

9 The Villa Borghese. 

BELLOWS, George, N.A. 

10 Dr. William Oxley Thompson. 

BENSON, Frank W., N.A. 

1 1 Red and Gold. 

BITTINGER, Charles, A.N.A. 

12 Duxbury One Hundred. 

BLAKELOCK, Ralph A., A.N.A. 

13 Glow, Evening. 

Lent by Messrs. M. Knoedler and Co. 

BLUMENSCHEIN, Ernest L., A.N.A. 

14 The Chief's Two Sons. 

131 



THE CLEVELAND MUSEUM 

BOHM, Max. 

15 Golden Summer. 

BOSTON, JOSEPH H., A.N.A. 

16 After the Storm. Adirondacks. 

BRECKENRIDGE, Hugh H., A.N.A. 

17 Old China. 

BROWNE, George Elmer. 

1 8 The Fallen Tree. 

BROWNE, MATILDA. 

19 Loading the Salt Hay. 

BUTLER, Howard Russell, N.A. 

20 Surging Seas in Sunshine. 
CARLSEN, Emil, N.A. 

21 Moonlight on a Calm Sea. . 

CARLSON, John F., A.N.A. 

22 Winter Afternoon. 

CASSATT, Mary. 

23 Femme a sa Toilette. 

CHAPMAN, Carlton T., N.A. 

24 The Omen. 

CHASE, William M., N.A. 

25 Out-of-Door Breakfast. 
CLARKSON, Ralph, A.N.A. 

26 Irving K. Pond, Esq. 
COFFIN, William A., N.A. 

27 Evening in the Valley. 

COMAN, Charlotte B., A.N.A. 

28 Veiled in Mist. 

CORNOYER, Paul, A.N.A. 

29 Grand Canal, Venice. 

COUSE, E. Irving, N.A. 

30 An Autumn Melody. 

COX, Kenyon, N.A. 

31 Truth. 

COX, Louise, A.N.A. 

32 The Wedding Guest. 

132 



PAINTERS. AMERICAN. CONTEMPORARY 

CRANE, Bruce, N.A. 
22 The Templed Hills. 

CURRAN, Charles C, N.A. 

34 On the Edge of the ClifF. 

DAINGERFIELD, Elliott, N.A. 

35 The Spirit of Moonrise. 

DA VIES, Arthur B. 

36 Every Saturday. 

Lent by the Brooklyn Museum. 

DAVIS, Charles H., N.A. 

37 The North West Wind. 

Lent by Mr. Paul Schulze. 

DA VOL, Joseph B. 

38 A Maine Fjord. 

DE CAMP, Joseph. 

39 The Silver Waist. 

DEWEY, Charles Melville, N.A. 

40 The Coppice. 

DOUGHERTY, Paul, N.A. 

41 October Morning. 

DUFNER, Edward, A.N.A. 

42 Summer Joys. 

EMMET, Lydia Field, N.A. 

43 A Boy. 
FOLINSBEE, John. 

44 Winter Quiet. 
FORSYTH, W. 

45 Farm in Winter. 
FOSTER, Ben, N.A. 

46 October in the Litchfield Hills. 
FRIESEKE, F. C, N.A. 

47 The Open Window. 
GARBER, Daniel, N.A. 

48 Down the River — May. 
GAY, Walter. 

49 The Philosopher. 

The H. B. Hurlbut Collection. 

^33 



THE CLEVELAND MUSEUM 

GENTH, Lillian M., A.N.A. 

50 The Whirling Waters. 

GILCHRIST, W. W. 

51 Girl in Pink. 

GOTTWALD, Frederick C. 

52 The Umbrian Valley, Italy. 

Gift of Mrs. John Huntington. 

GRIFFIN, Walter, A.N.A. 

53 Nature's Appeal. 

GROLL, Albert L., N.A. 

54 The Painted Desert. Arizona. 

HARRISON, Birge, N.A. 

55 Moonlight on the St. Lawrence. 

HASSAM, Childe, N.A. 

56 Young Woman Reading a Letter. 

HAWTHORNE, Charles W., N.A. 

57 The Sisters. 

HENRI, Robert, N.A. 

58 Herself. 

IRVINE, Wilson. 

59 Summer in Connecticut. 

JOHANSEN, John C, N.A. 

60 Mrs. G. A. McLane. 

JONES, Francis C, N.A. 

61 The End of the Story. 

KELLER, Henry G. 

62 In the Sand-pit. 

Gift of the Cleveland Art Association. 

JONES, H. Bolton, N.A. 
62 Late Afternoon. 

KENDALL, Sergeant, N.A. 

64 A Statuette. 

KRONBERG, Louis. 

65 Preparing for the Dance. 

134 



PAINTERS. AMERICAN. CONTEMPORARY 

LATHROP, W. L., N.A. 

66 Evening Near the Shore. 

LAWSON, Ernest, A.N.A. 

67 Winter. 

LEVER, Hayley. 

68 Dawn. 

LEWIS, Josephine M. 

69 A Rainy Day. 

LIE, Jonas, A.N.A. 

70 Cranes at Miraflores. 

LITTLE, PhiHp. 

71 First of the Goldenrod. 

McLANE, M. Jean. 

72 The Secor Children. 

Lent by Mr. J. K. Secor. 

MELCHERS, Gari, N.A. 

73 Maternity. 

METCALF, Willard. 

74 September Morning. 
MORA, F. Luis, N.A. 

75 Jeanne Cartier. 
MURPHY, H. Dudley. 

76 Morro Castle; San Juan. 
MYERS, Jerome. 

77 Childhood. 

NISBET, Robert H., N.A. 

78 Abandoned Farm. 
NORDELL, Carl J. 

79 A Touch of Turquoise. 
OCHTMAN, Leonard, N.A. 

80 The Moonlit Cascade. 
PALMER, Walter L., N.A. 

81 The Archway. 
PARSHALL, DeWitt, A.N.A. 

82 No Man's Land. 
POORE, Henry R., A.N.A. 

83 Pilgrim Sons. 

^35 



THE CLEVELAND MUSEUM 

POTTHAST, Edward H., N.A. 

84 The Bathing Hour. 

RITSCHEL, William, N.A. 

85 The Lonely Cypress. Monterey, California. 

ROBINSON, William S., N.A. 

86 Mountain Laurel. 

ROSEN, Charles, A.N.A. 

87 Winter Sunlight. 

ROSENTHAL, Albert. 

88 Mrs. Rosenthal. A Portrait. 

RUNGIUS, Carl, A.N.A. 

89 Down the Brezeau. 

RYDER, Chauncey P., A.N.A. 

90 The Little Stand of Pines. 

SARTAIN, William, A.N.A. 

91 Jersey Sand Dunes. 

SMEDLEY, William T., N.A. 

92 Miss Catherine Breckenridge Roach. 

SNELL, Henry B., N.A. 

93 The Outer Harbor, Polperro. 

STARK, Otto. 

94 Sunrise. 

STEELE, T. C, A.N.A. 

95 The Strength of the Hills. 

STORY, George H., A.N.A. 

96 Abraham Lincoln. 

SYMONS, Gardner, N.A. 

97 In the Shadow of the Bridge. 

THAYER, Abbott H., N.A. 

98 Winged Figure. * 

Lent by Mr. Charles L. Freer. 

TOMPKINS, F. H. 

99 Portrait of Himself. 

136 



PAINTERS. AMERICAN. CONTEMPORARY 

TRYON, Dwight W. 

I GO Autumn Evening. 

Lent by Mr. H. H. Stambaugh. 

TURNER, Helen M., A.N.A. 
loi Golden Hours. 

VAILLANT, Louis D. 

102 The Bathers. 

VOLK, Douglas, N.A. 

103 Sylvanesque. 
VONNOH, Robert W., N.A. 

104 Afternoon Glow, Ferme, France. 
WALKER, Horatio, N.A. 

105 Lime Burners at Night. 
WATROUS, Harry W., N.A. 

106 Who Cares. 

WARNER, Everett L., A.N.A. 

107 The Wayside Cottage. 
WAUGH, Frederick J., N.A. 

108 South Atlantic. 
WENDT, William, A.N.A. 

109 Tahoma the Silent. 
WEIR, J. Alden, N.A. 

no The Plaza: Nocturn. 
WHEELER, Clifton A. 

111 Spring Song. 
WIGGINS, Carleton, N.A. 

112 On the Holland Dunes. 

WILLIAMS, Frederic Ballard, N.A. 

1 13 The Clearing. 

WILES, Irving R., N.A. 

114 Divided Attention. 
WOODBURY, Charles H., N.A. 

115 The Wave. 
WUERPEL, E. H. 

116 Afterglow. 

YOUNG, Charles Morris, A.N.A. 

117 The White Meadow. 

137 



GALLERY X— THE FREER COLLECTION 

LENT BY THE SMITHSONIAN INSTITUTION 



FROM the stored up treasures of Eastern Art, which, with un- 
faihng knowledge, taste and patience, Mr. Charles L. Freer, 
of Detroit, has been for many years accumulating for the 
benefit of the American people and students throughout the world, 
he has selected the contents of Gallery Ten, and lent them to the 
Inaugural Exhibition of The Cleveland Museum of Art. How great 
is our debt to him may be easily comprehended, when it is said 
that from no other collection on this continent, still less in Europe, 
could such a selection have been made. 

Three pieces of Egyptian sculpture worthily represent the art 
of that ancient civilization. The two basalt Hawks of Ra, the sun 
god, exhibit the stern and splendid conventionalization which char- 
acterizes all of the art of ancient Egypt. Almost equally ancient, 
and showing something of the same severe reserve, is a Chinese 
bronze sacrificial vessel of the Shang Dynasty, B.C. 1766-1123, 
and two others of the succeeding Chou, B.C. 1122-256. 

Sculpture of these early Chinese periods is so far unknown to 
us, but of the most flourishing period of this art, theT'ang, 618-906 
A.D., Mr. Freer has lent some superb examples. A head of a Bodhi- 
sattva, probably Kwanyin; and an inestimable rarity, a seated fig- 
ure of a Bodhisattva in dried lacquer. This curious process, known 
to the Japanese as Kanshitsu, is familiar to students as having 
been introduced into Japan in the Tempyo Period 710-794 A.D. 
from China. Nevertheless, Chinese examples of what we may call 
the parent art are of extreme rarity and this is probably the only 
specimen that has left the Far East, if not the only one extant. It 
exhibits in a marked degree the influence exerted, from the latter 
part of the Fourth century, upon Chinese Art, of the Buddhist 
art of India. This is also to be detected in a wonderful stone statue 
of a lion-headed demon which Mr. Freer ascribes to a slightly 
earlier period, the Northern Wei, 386-587 A.D. A seated marble 
statue of a Bodhisattva with a beautiful and characteristic halo, 
of the T'ang Dynasty, again gives evidence of the famiharity of 
Chinese artists of that time with the Gupta school of Indian 
sculpture. 

^39 



THE CLEVELAND MUSEUM 



Mr. Freer has lent us also one of the rare paintings of this early 
time. The ideal portrait of an Emperor of the long-preceding Han 
Dynasty, by an artist of the School of Wu-Tao-tzu, who flourished 
about 720-750 A.D., assures us that the painters of that splendid 
period were well abreast of the sculptors. 

From Japan he has permitted us to enjoy another rare work 
of art. It is doubtful whether, away from the temple of Horuji at 
Nara, there exists so remarkable an example of Suiko sculpture as 
the wooden statue of a Bodhisattva we are privileged to include in 
our exhibition. A seated figure ot Tempyo times 710-795 A.D. com- 
pletes the roll of treasures in this art. 

Two pairs of screens, the most typically Japanese method of 
employing the art of painting, fill out the sum of Mr. Freer's bene- 
faction. One pair, sixfold, representing the Tosa school, the most 
purely Japanese of any, dates from the Ashikaga Period. The land- 
scape is that of the famous Yoshino valley in Yamato province, 
where even today the Japanese throng, as did their ancestors, to 
enjoy the beauty of the cherry blossoms, relieved against the rich 
velvety greens of the conifers which cling to the sides of that beau- 
tiful valley. These screens are in full color on a gold ground. 

The other pair, fourfold, in ink, show us the influence which 
coming from China with the artist who painted them, temporarily 
swept the Tosa school out of public favor and founded the great 
Ashikaga art of Kano. Soga Shubun, who flourished from about 
1375 to 1410, was of Chinese birth, an exponent through his art 
of the doctrine of Zen, nature mysticism, which had for two cen- 
turies preceding turned the minds of his countrymen to the con- 
templation, and the Sung painters to the representation, of the 
beauties of nature. He became a naturalized Japanese and played an 
important part in the establishment of the Kano 'school. This pair 
of screens is justly "regarded by its owner as the supreme landscape 
masterpiece of the Ashikaga schools." Fenollosa II, 75. 



140 



THE FREER COLLECTION 

1 PAINTING. 

In full color on silk. The Emperor Chao-Lieh of the Shu 
Han Dynasty. 

Chinese. T'ang Dynasty. 

2 HEAD OF KWANYIN. 

Black schistose rock. 

Chinese. T'ang Dynasty. 

3 WINE HOLDER (YU). 

Bronze. 

Chinese. Shang Dynasty. 

4 WINE HOLDER (YU). 

Bronze. 

Chinese. Chou Dynasty. 

5 VASE. 

Chinese. Chou Dynasty. 

6 PAIR OF FOUR-FOLD SCREENS. 

and In ink. Landscape in snow. 

14 Japanese. By Soga Shubun. fl. 1375-1410 A.D. Ashi- 
kaga Period. 

7 BODHISATTVA SEATED. 

Dried lacquer {kanshitsu). 
Chinese. T'ang Dynasty. 

8 BODHISATTVA STANDING ON A LOTUS. 

Wood. Carved, lacquered and gilt. 
Japanese. Suiko Period. 

9 BODHISATTVA SEATED 

Wood. Carved, lacquered and gilt. 
Japanese. Tempyo Period. 

10 PAIR OF SIX-FOLD SCREENS. 

and In color on gold. Landscape: Yoshino Valley in Cherry- 

11 blossom time. 

Japanese. Tosa school. Late Ashikaga Period. 

12 KWANYIN SEATED. 

Marble. 

Chinese. T'ang Dynasty. 

141 



THE CLEVELAND MUSEUM 

13 DEMON OR GUARDIAN. 

Black schistose rock. Human body and lion's head. 
Chinese. From Honan. Wei Dynasty. 

14 FOUR-FOLD SCREEN. 

See No. 6. 

15 BUST. 

Marble. Fragment of a statue. Said to be the portrait of a 
princess. 
Egyptian. 

16 HAWKS. 

and Black basalt. Sacred to Ra, the god of the sun. These 

17 have lost the crowns of Upper and Lower Egypt which at 
one time they must have worn. 

Egyptian. 

18 PAINTING. 

In ink on silk. Mountainous landscape. By Ching-Hao. 
Chinese. The Five Dynasties. 



142 



GALLERY XI— THE W. S. and J. T. SPAULDING 
COLLECTION OF SURIMONO 



THESE were a class of prints made for special occasions, 
somewhat as our Christmas cards are. The greatest of the 
Ukiyoye artists were employed to make those which were 
used by the noble and wealthy to commemorate festive occasions, 
when they were presented to the guests as souvenirs. Such suri- 
mono were never reprinted, and to keep them select no more im- 
pressions were made of them than were absolutely needed. This 
would account for the extreme scarcity of such a series as these 
twelve of Hiroshige, which are the rarest and most highly prized of 
all his works. A few single examples are to be found in collections 
here and there, but Mr. Spaulding's is the only complete series 
known to exist. 

Hiroshige Utagawa, of the Ando family, was born in 1797. 
He became a pupil of Toyohiro, from whose name, as was custom- 
ary when a pupil had proved himself worthy, he was allowed to take 
a syllable in composing his own professional name, Hiroshige. 

When he was about twenty-six years old he was sent by the 
Yedo government to Kyoto in the suite of an envoy to the Em- 
peror to make a painting of the ceremony of his presentation, and 
as a result of the journey published his famous Fifty-three Scenes 
on thcTokaido, the great highway which connects Yedo and Kyoto. 

This constituted a new departure in Ukiyoye (although pos- 
sibly Hokusai had begun landscape work before this), and rapidly 
became very popular, the Tokaido being reprinted times without 
number. 

He traveled much in search of subjects, and his scenes along 
the Kisokaido, Hundred Views in Yedo, Views of Mount Fuji, and 
many other prints testify to his industry and genius. He died in 
1858. 

The other fourteen surimono which through Mr. Spaulding's 
kindness we are enabled to include in our Inaugural Exhibition 
are by 

Hokusai, born 1760. Died 1840. Seiko, flourished 1795. 

Shunman, flourished 1780-1800. Shinsai, flourished 18 10. 

Hokkei, born 1780. Died 1858. Gakutei, flourished 1820. 

143 



THE CLEVELAND MUSEUM 

1 The Poetess Ono-no-Komachi. Hokusai. Signed, Taito, a 

name used by the artist between 1810 and 1820. 

2 The Mouth of the Naka river. Hiroshige. 

3 Poet on the Seashore. Hokkei. 

4 The Village of Matsudo. Hiroshige. 

5 Poet. Hokkei. 

6 A Snowy Morning at Susaki. Hiroshige. 

7 Poet. Hokkei. 

8 Azuma Grove. Hiroshige. 

9 No Dancer. Hokkei. 

10 Takata Racetrack and Archery range. Hiroshige. 

11 Cherry-blossoms and Pine cones. Shunman. 

12 The Sea Beach at Gyotoku. Hiroshige. 

13 Yuhi Hill. Hiroshige. 

14 Peonies and Iris. Shunman. 

15 Gotenyama. Hiroshige. 

16 Bugaku Dancer. Hokkei. 

17 Koganei. Hiroshige. 

18 Tortoises and Teabowl. Gakutei. 

19 The Garden at Oji. Hiroshige. 

20 Quail in a cage and Narcissus flowers. Shinsai. 

21 Maple Trees at Kaianji. Hiroshige. 

22 Broom, Fish's head and Holly sprig. Shunman. 

23 The Village of Tamagawa. Hiroshige. 

24 Fish and Plum-blossoms. Gakutei Harunobu. 

25 Geisha in Spring. Double print. Hokkei. 

26 The Emperor Genso and the Fairy Queen. Double print. 

Seiko. 

27 STATUE OF AMIDA: THE BUDDHA. 

On a lotus pedestal. Wood, lacquered and gilt. 
Late Tokugawa Period. 
Gift of Mr. D. J. R. Ushikubo. 

144 



THE W. S. AND J. T. SPAULDING COLLECTION 

28 HEAD DRESS FOR THE NO DANCE. 

Blue brocade. 
The Worcester R. Warner Collection. 

29 TEMPLE ORNAMENT (KENMAN) 

Tokugawa Period. 

Lent by Mr. T. Kuroda. 

30 TEMPLE ORNAMENT (KENMAN) 

Tokugawa Period. 

Lent by Mr. T. Kuroda. 

31 SCREEN (RAMMA) 

Fragment. Wood. Carved. 
Kamakura Period. 
Lent by Mr. J. Templeman Coolidge. 



145 



GALLERY XII— THE ART OF THE 
NEARER EAST 



NEAR EASTERN ART is a ^cumbrous ^term and it would 
be well if we replaced it by "Saracenic," meaning Eastern, 
which was the name applied by the Crusaders to the peo- 
ples, irrespective of their race, by whom they found themselves op- 
posed in the Holy Land. For we mean by the phrase an art which, 
originating in the East, whether it be Indian or Persian, Syrian, 
Egyptian or Turkish, or even certain phases of Spanish, Portu- 
guese and southern Italian, is unmistakable and distinct from other 
types of design wherever it appears. 

Its origins are as mixed as the races which produced it, but in 
its most typical manifestations it would seem to have originated 
in Egypt about the time of the Mahomedan conquest and almost 
simultaneously in Eastern Syria and north Persia, both of which 
were famous centers of pottery making from the Ninth century 
onward. Pottery is the form in which we first encounter the art of 
this new school. Besides pottery, the Saracens accomplished metal 
work of extreme delicacy, they were skilled in glass making and 
enameling; miniature painting was also one of their great arts, but 
above all they excelled in weaving. 

From the Fifteenth century the style deeply affected the nas- 
cent art of the Renaissance, particularly in the matter of the design 
of textiles, which are often hard to distinguish from the oriental 
originals. 

The precepts of the Koran forbade the representation of the 
human figure, and in the stricter interpretation, of any living crea- 
ture. The limitation so imposed produced a rich variety of geomet- 
ric and floral motives which have received the name of Arabesque. 
As another consequence of this prohibition, the Mahomedans de- 
voted greater attention to color, in which they excelled. As a result 
of schisms in the Mahomedan faith, at least one sect, if not more, 
chose to disregard these doctrines, with the fortunate result that 
the Persians, the most gifted artistically of all these peoples, in- 
troduced human and animal life into their designs in the happiest 
manner. 

147 



THE CLEVELAND MUSEUM 

Persian art may be regarded as perhaps the highest manifes- 
tation of Decorative Art the world has ever seen; instead of spend- 
ing their energies in painting pictures and carving statues, most of 
which work is of doubtful value at best, they devoted themselves 
to making every object they used also an object of the greatest 
beauty, surely the loftiest ideal any artist can set before himself. 

1 CARPET. 

Silk. One of the famous set from the Mosque of Ardebil. 
From the Yerkes Collection. 

Persian. XVI Century. 

Lent by the Messrs. Duveen. 

2 EWER. 

Brass. Twelve-sided, hammered and engraved. Lions in 
relief on the neck and spout. Decoration, engraved and in- 
laid with silver, consists of panels filled with animals and 
a band of Cufic (above) and Naskhy (below) inscriptions. 

Persian. Hamadan. XII Century. 

Lent by Mr. H. Kevorkian. 

3 PAIR OF DOORS. 

Wood, carved. Decorated with a pair of niches orna- 
mented with arabesques and scrolls. From a shrine at 
Kirman. 

Persian. XIII Century. 

Lent by Mr. H. Kevorkian. 

4 BOWL. 

Pottery. Turquoise. Fluted outside. 
Sultanabad. XIII Century. 
Lent by Mr. H. Kevorkian. 

5 PITCHER. 

Pottery. Lapis-lazuli, floral scrolls in lustre overglaze. 
Rhages. XII Century. 
Lent by Mr. H. Kevorkian. 

6 VASE. 

Pottery. Melon-shaped body, cylindrical neck, flaring lip. 
Lapis-lazuli. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 

148 



THE ART OF THE NEARER EAST 

7 PITCHER. 

Pottery. Melon-shaped. Sapphire blue, floral scrolls in 
lustre overglaze. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 

8 BOWL. 

Pottery. Turquoise blue. Band of inscriptioji relief round 
outside. 

Rhages or Sultanabad. XIII Century. 

The John Huntington Collection. 

9 PITCHER. 

Pottery. Lustred, ivory ground, with cartouches containing 
birds and floral scrolls. Inside sapphire blue. 

Lustre ware is assumed to be of Egyptian origin; that is 
to say, the earliest examples known have been found at 
Fostat (Old Cairo) founded by the Mahomedan con- 
querors in 641 A.D. It is supposed that the art was carried 
thence to Persia. Several of these pieces are ascribed to 
the XI Century. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 

10 CUP. 

Pottery. Ivory-white glaze decorated with figures in panels 
in many-colored enamels. 

Rhages. XII to XIII Century. 

Lent by Mr. Dikran G. Kelekian. 

11 STAR TILE. 

Pottery. Lustred; blue, green and gold. Two figures. Border 
of inscriptions. 

Persian. XIV Century. 

The John Huntington Collection. 

12 BOWL. 

Pottery. Slightly fluted outside. Celadon glaze. 
Persian. XIV Century. 
The John Huntington Collection. 

149 



THE CLEVELAND MUSEUM 

13 PITCHER. 

Pottery. Very thin and light in weight. Unglazed, or else 
the glaze has perished through long burial. 

Excavated at Rhages. XI or XII Century. 

The Worcester R. Warner Collection. 

14 PITCHER. 

Pottery. Very thin and light in weight. Unglazed, or else 
the glaze has perished through long burial. 

Excavated at Rhages. XI or XII Century. 

The Worcester R. Warner Collection. 

15 PITCHER. 

Pottery. Very thin and light in weight. Unglazed, or else 
the glaze has perished through long burial. 

Excavated at Rhages. XI or XII Century. 

The Worcester R. Warner Collection. 

16 BOWL. 

Pottery. Turquoise blue. Arabesques and Cufic inscrip- 
tions in red enamel and gold overglaze. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 

17 VASE. 

Pottery. Gourd-shaped with slender neck. Lapis-lazuli. 
Geometric and floral patterns in red and white enamel 
and gold over the glaze. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 

18 BOWL. 

Pottery. Ivory ground. Rabbit in centre, surrounded by 
radiating compartments, filled with floral decorations. 

Sultanabad. XIII Century. 

Lent by Mr. H. Kevorkian. 

19 BOWL. 

Pottery. Design of flowers and birds in relief; background 
of grey-black, outside band of blue, under the glaze. 

Sultanabad. XIII Century. 

The John Huntington Collection. 

150 



THE ART OF THE NEARER EAST 

20 PLATE. 

Pottery. Ivory ground, bird in the centre, borders in 
blue and black; all under glaze. 

Sultanabad. XIII Century. 

Lent by Mr. H. Kevorkian. 

21 PLATE. 

Pottery. Characteristic floral decoration in red, green and 
blue; traces of subsequent gilding. 

Rhodian. XVII Century. 

The John Huntington Collection. 

22 MELON-SHAPED BOWL. 

Pottery. Deep blue glaze, highly iridescent. 
Rakka. XIII Century. 
The John Huntington Collection. 

23 PLATE. 

Pottery. Decorated with a woman's head, a bird and 
flowers in colors under and over glaze. 

Koubatcha. XV Century. 

Lent by Mr. Dikran G. Kelekian. 

24 BOWL. 

Pottery. Decorated in black and dark blue; all under tur- 
quoise glaze. 

Rhages. XIII Century. 

The John Huntington Collection. 

25 BOWL. 

Pottery. Lustre ware. Decorated with concentric bands of 
ornament and inscriptions. 

Rhages. XIII Century. 

The John Huntington Collection. 

26 STAR TILE. 

Pottery. Lustred. Two storks affrontes. 
Veramin. XII Century. 
Lent by Mr. H. Kevorkian. 

27 PLATE. 

Pottery. Lustre ware. Blue and gold. Two figures in the 
centre; concentric bands of ornaments and inscription. 

Rhages. XIII Century. 

The John Huntington Collection. 

151 



THE CLEVELAND MUSEUM 

a8TILE. 

Pottery. Turquoise blue. Fragment of an inscription in 
relief. 

Sultanabad. XIII Century. 

The John Huntington Collection. 

29 BOTTLE. 

Pottery. Pale gold lustre. Decorated with figures and 
scroll patterns. Inscription round base. 

Rhages. XVII Century. 

Lent by Mr. Dikran G. Kelekian. 

30 "HUNTING CARPET" 

So-called from its subject. Silk. From the Hampden-Robb 
Collection. 

Persian. XVI Century. 

Lent by the Messrs. Duveen. 

31 PAIR OF DOORS. 

Wood, covered with gesso and gilt. 

Saracenic; perhaps Hispano-Moresque. XIII or XIV 

Century. 

The John Huntington Collection. 

32 HANGING. 

Silk. Apricot ground; within an ornamental border are 
two pavilions in each of which hangs a mosque lamp. 

Turkish. 

Gift of Mr. and Mrs. J. H. Wade. 

33 DISH. 

Pottery. Gold lustre. Decorated with figures in center 
surrounded by conventional scrolls with birds. Double 
border of inscriptions. 

Rhages. 

Lent by Mr. Dikran G. Kelekian. 

34 JAR WITH FOUR HANDLES. 

Pottery. Deep turquoise glaze, highly iridescent. 
Sultanabad. XIII Century. 
The John Huntington Collection. 

35 LINEN GAUZE SCARF. 

Embroidered with colored silks and gold. 
Rhodian. 
Gift of Mr. and Mrs. J. H. Wade. 

152 



THE ART OF THE NEARER EAST 

26 CARPET. 

Ispahan. XVI Century. 

Lent by Mr. Dikran G. Kelekian. 

37 BOX. 

Pottery. Relief decorations suggest metal corners and re- 
enforcement. Cover missing. Turquoise glaze. 

Rakka. XIII Century. 

The John Huntington Collection. 

38 LINEN GAUZE SCARF. 

Embroidered with colored silks and gold. 
Rhodian. 
Gift of Mr. and Mrs. J. H. Wade. 

39 DISH. 

Pottery. Bold decoration in aubergine and blue on a pale 
turquoise ground. 

Bokhara. XVII Century. 

The John Huntington Collection. 

40 TILE. 

Pottery. Fragment of an inscription, with an ornamental 
background in red, yellow and green on a blue ground. 

The XVI Century was the golden age of Persian art. 

Persian. XVI Century. 

The John Huntington Collection. 

41 DISH. 

Pottery. Sketchy decoration of floral scrolls in dark green, 
under turquoise glaze. 

The potteries of Koubatcha in Daghestan were in all 
probability founded by Persian refugee workmen. 

Koubatcha. XVI Century. 

The John Huntington Collection. 

42 BOWL. 

Pottery. Turquoise. Decorated in blue under a bright 
turquoise glaze. 

Koubatcha. XVI Century. 

Lent by Mr. Dikran G. Kelekian. 

^S3 



THE CLEVELAND MUSEUM 

43 JAR. 

Pottery. A frieze of animals in relief round shoulder. Grey- 
green vitreous glaze, stopping at one-third of height from 
bottom. 

Sultanabad. XIII Century. 

The John Huntington Collection. 

44 PITCHER. 

Pottery. Decorated with an ogival design in blue and 
yellow on a cream-colored ground. Inside blue. 

Persian. 

The John Huntington Collection. 

45 BOWL. 

Pottery. Grey, decorated with blue and black under a 
transparent glaze now almost concealed by brilliant iri- 
descence. 

Sultanabad. XII Century. 

Lent by Mr. Dikran G. Kelekian. 

46 JAR. 

Pottery. Dark green decoration, with reserves under 
turquoise blue glaze, now almost totally obscured by iri- 
descence. 

Rakka. XII Century. 

The John Huntington Collection. 

47 JAR. 

Pottery. Grey glaze. Decorated with relief. Inscription in 
white on blue ground. 

Sultanabad. XII Century. 

Lent by Mr. Dikran G. Kelekian, 

48 BOTTLE. 

Pottery. Lustre ware. Decorated in relief and color. Much 
repaired. 

Rhages. XIII Century. 

The John Huntington Collection. 

154 



THE ART OF THE NEARER EAST 

49 BOWL. 

Pottery. Cream-color. Deep blue lip and spot in centre. 
Border of pierced ornament, which is filled by the trans- 
parent glaze. 

This technique may have suggested the famous Chinese 
grain-de-riz porcelain of later times. 

Rhages. XIII Century. 

The John Huntington Collection. 

50 TILE. 

Pottery. Lustre ware. Gold and blue. Man and antelope 
in relief. 

Rhages. XIII Century. 

The John Huntington Collection. 



51 STAR TILE. 

Pottery. Flower sprays in relief, white on blue ground. 
Sultanabad. XIII Century. 
The John Huntington Collection. 

52 BOWL. 

Pottery. Turquoise, decorated with Cufic inscription and 
radiating lines in black under turquoise glaze. 

Sultanabad. XIII Century. 

Lent by Mr. H. Kevorkian. 

53 EWER. 

Pottery. Covered with diamond-shaped bosses arranged 
vertically. Decorated in colored enamels and gold on a 
lustreless turquoise glaze. 

Excavated at Rhages. XI Century. 

Lent by Mr. H. Kevorkian. 

54 PLATE. 

Pottery. Ivory ground, centre medallion and border of 
Cufic inscription in blue and black under glaze. 

Rhages. XII Century. 

Lent by Mr. H. Kevorkian. 



THE CLEVELAND MUSEUM 

55 DISH. 

Pottery. Fragmentary. Grey-white with blue, green and 
yellow rosette in centre and splashes of green glaze round 
edge. 

Excavated at Rhages. IX Century. 

The Worcester R. Warner Collection. 

56 BOWL. 

Pottery. Yellow and green glaze. Decorated with a rudely 
incised scroll and an anthemion inside. 

Excavated at Rhages. IX Century. 

The Worcester R. Warner Collection. 

Exhibited in Gallery XIII Chinese Art, No. 11. 

These two pieces are remarkable and unique in America. 
Their extraordinary similarity to the T'ang pottery of 
China would suggest that the one had influenced the other. 
That this was the case is rendered probable by the dis- 
covery at Samara, not far from Rhages, of undoubted 
pieces of T'ang pottery which had been used as examples 
for imitation by the local potters of the IX Century, at 
which time the town is known to have been destroyed. 

57 BOTTLE. 

Pottery. Broken. Lapis-lazuli glaze. 
Rhages. XIII Century. 
The John Huntington Collection. 

58 BOWL. 

Pottery. Ornament, lotus-like petals in reserve on a black 
ground, under a turquoise blue glaze, which colors the 
reserved lines. 

Rhages. XIII Century. 

The John Huntington Collection. 

59 STAR TILE. 

Pottery. Lustred; blue and gold. Border of inscriptions. 
Persian. XIV Century. 
The John Huntington Collection. 

60 OIL CUP FROM A MOSQUE LAMP. 

Glass, enameled in colors with seated figure, vines, etc. 
A wide band of inscription round rim. 

Egypt. Arab work. 

Lent by Mr. Dikran G. Kelekian. 
156 



THE ART OF THE NEARER EAST 

6 1 FOUR TILES. 

Pottery. Decorated with a pattern of lobed circles, enclos- 
ing and surrounded by floral patterns in blue, purple and 
green. 

Damascus. XVII Century. 

The John Huntington Collection. 

62 TWO TILES. 

Pottery. Figures of two men in red, blue, green and auber- 
gine on a yellow ground. 

Persian. Time of Shah Abbas. 1555 — 1628 A.D. 

The John Huntington Collection. 

63 DISH. 

Pottery. Decorated with floral patterns in blue, green 
and purple. 

Damascus. 

Lent by Mr. Dikran G. Kelekian. 

64 BOX. 

Brass. Cylindrical, with ring at the top for suspension. 
Decorated with arabesques and inscriptions. 

Saracenic. Arab. 

The John Huntington Collection. 

65 BOWL. 

Pottery. Decorated with figures and inscriptions in blue, 
black and white over robin's-egg-blue glaze. 

Rhages. XIII Century. 

The John Huntington Collection. 

66 BOWL. 

Pottery. Lustre ware. 
From Fostat in Egypt. 

The John Huntington Collection. 

67 CARVED PANEL. 

Wood. Has been lacquered and gilded. Buddhist Divini- 
ties in niches and recesses among lotus rinceaux. 

Indian. Uncertain date. 

Lent by Mr. Hervey E. Wetzel. 

68 PANELS. 

Teak. Carved and pierced. 
Indian. 
Lent by Mr. Lockwood de Forest. 

157 



THE CLEVELAND MUSEUM 

69 PAINTING. 

Portrait of Tahmasp I, Shah of Persia, b. 15 14. Ascended 
throne 1524. d. 1576. 

Persian; in the style of Behzad. About 1575. 

The Worcester R. Warner Collection. 

70 PAINTING. 

A lady in a garden. The treatment of the flowers suggests 
that on Rhodian pottery. 

Persian painting, so far as known to us, began in the XIII 
Century. It received a great impulse, probably under 
Chinese influences, at the time of the conquest of Persia 
by the Mongols in 1258. It reached its zenith in the XV 
Century. Behzad, the greatest master of the school, was 
born about 1460, and died in 1525. His fame reached Con- 
stantinople, and had a great influence on the Venetian, 
Gentile Bellini. 

Persian. By Abdallah, of the school of Usted Mahmud. 

About 1620. 

Lent by Mr. I. Schweiger. 

71 PAINTING. 

Shaikh A'ou-'Ali Qalandar. A Mahomedan saint born 
at Iraq. Went to India, lived and died in 1324 at Panipat. 
Imaginary portrait. 

Persian. Bokhara School. About 1570. 

Lent by Mr. I. Schweiger. 

72 PAINTING. 

The Emperor Baber, first Mogul Emperor of India, at a 
repast. B. 1483. Ascended throne 1526. d. 1530. Not from 
life, but perhaps from a life portrait. 

The art of painting was carried to India from Persia, 
in 1526, by the Mogul conquerors. It did not begin to as- 
sert its individuality until the reign of Baber's grandson, 
Akbar, 1 550-1605. The art of portraiture,in which it chiefly 
excelled, became fashionable at the courts of Jehangir and 
Shah Jehan, Akbar's son and grandson, 1 605-1658, from 
which period the finest works date. 

Indian. Mogul School about 1650. 

Lent by Mr. I. Schweiger. 

158 



THE ART OF THE NEARER EAST 

73 PAINTING. 

Portrait of Prince Murad Baksh, youngest son of Shah 
Jehan. d. 1662. 

Indian. Mogul School. XVII Century. 

The Worcester R. Warner Collection. 

74 PAINTING. 

Portrait of the Emperor Shah Jehan on horseback. 
Indian. Mogul School. Late XVII Century. 
The Worcester R. Warner Collection. 

75 PAINTING. 

Portrait of Mirza Muizz, a Persian who held high office 
under the Emperor Aurungzebe. 1 659-1 707. 

Indian. Mogul School. Late XVII Century. 

The Worcester R. Warner Collection. 

76 PAINTING. 

Portrait of Nawab Asad Khan. d. 17 17. Prime minister of 

the Emperor Bahadur Shah I. 1707-1712. 
Indian. Mogul School. Late XVII or early XVIII Cen- 
tury. 
Lent by Mr. I. Schweiger. 

77 PAINTING. 

Landscape, with a man on horseback hunting a deer; an- 
other on a camel is playing a harp. 

Persian. 

The John Huntington Collection. 

78 PAINTING. 

Leaf from a MS. with the same figure on both sides, a 
bearded man holding a large serpent. 

Persian. XIV Century 

Lent by Mr. Hervey E. Wetzel. 

79 PAINTING. 

Warriors on horseback and afoot, in a landscape. 
Persian. XV Century. 
Lent by Mr. Hervey E. Wetzel. 

80 PAINTING. 

Portrait of Raad Andaz Khan, Subadar of Kabul. 
Indian. Mogul School. Early XVIII Century. 
Lent by Mr. I. Schweiger. 

159 



THE CLEVELAND MUSEUM 

8 1 PAINTING. 

Portrait of the Emperor Alamgir II; Aziz-uddin, son of 
Jahander Shah. b. 1688. Ascended throne 1754. d. 1759. 

Indian. Mogul School. About 1755. 

Lent by Mr. I. Schweiger. 

82 BOOK. 

Illuminated title-page. Cut leather binding, colored and 
gilt. 

Persian. 

Lent by Mr. Hervey E. Wetzel. 

83 BOOK. 

Illuminated title-page. European binding, 
Persian. 
Lent by Mr. Hervey E. Wetzel. 

84 BOOK. 

Illuminated title-page and illustration. Cut leather bind- 
ing. 

Persian. 

Lent by Mr. Hervey E. Wetzel. 

8s BOOK. 

Illuminated page. Cut leather binding. 
Lent by Mr. Hervey E. Wetzel. 

86 SILK BROCADE. 

On a sapphire blue ground a pattern of tulips and leaves 
in apricot and gold. 

Persian. 

Gift of Mr. and Mrs. J. H. Wade. 

87 LINEN SQUARE. 

Embroidered with silk. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

88 SILK BROCADE. 

A pattern of conventionalized tulips in gold on a crimson 
ground. 

Persian. 

The John Huntington Collection. 

160 



THE ART OF THE NEARER EAST 

89 LINEN COVERLET OR HANGING. 

Embroidered with silk. 
Turkish or Central Asian. 
Gift of Mr. and Mrs. J. H. Wade. 

90 SILK AND GOLD GAUZE IN SQUARE. 

Red tone. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

91 GREEN GAUZE SCARF. 

Bordered and striped with gold and red. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

92 LINEN COVERLET OR HANGING. 

Embroidered with coral red silk. 
Gift of Mr. and Mrs. J. H. Wade. 

93 CLOTH-OF-GOLD SCARF. 

Patterns of flowers in colored silks. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

94 GREEN SILK, GOLD AND SILVER SCARF. 

Pattern of flowers. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

95 PURPLE GAUZE SQUARE. 

Gold and silver patterns. 
Indian. 
Gift of Mr. and Mrs. J. H. Wade. 

96 CLOTH-OF-SILVER SCARF. 

Grey and coral ground, striped and bordered with flower 
patterns. 

Persian. 

Gift of Mr. and Mrs. J. H. Wade. 

161 



THE CLEVELAND MUSEUM 

97 SILK GAUZE. 

Crimson, with a barred pattern in gold and colors. Mount- 
ed and bordered with gold gauze. 

Indian. 

Gift of Mr. and Mrs. J. H. Wade. 

98 MAN'S SHIRT. 

Green silk, embroidered with steel spangles and colored 
silks. Kutch work. 

Indian. 

Gift of Mr. and Mrs. J. H. Wade. 

99 MAN'S SHIRT. 

Tawny yellow silk, embroidered with steel spangles and 
colored silks. Kutch work. 

Indian. 

Gift of Mr. and Mrs. J. H. Wade. 

100 FRAGMENTS OF A CASHMERE SHAWL. 
Made up into a prayer rug. 
Persian. 
The John Huntington Collection. 

loi SQUARE OF CLOTH-OF-GOLD. 

Silk, with borders of floral patterns. 
Persian. XVI Century. 
The John Huntington Collection. 

102 SILK BROCADE. 

Crimson centre with blue and white border. Decorated 
with arabesques and inscriptions. 

Saracenic. XV Century. 

Lent by Mrs. Chauncey J. Blair. 

103 SILK BROCADE. 

On a crimson ground large isolated ogees of ink-purple 
filled with flowers in white, pale green, crimson and silver 
thread. 

Turkish. XVI Century. 

Lent by Mrs. Chauncey J. Blair. 

162 



THE ART OF THE NEARER EAST 

104 SILK BROCADE. 

On a dull golden ground are figures and animals in a land- 
scape. Polychromatic scheme. 

Persian- XVI Century. 

Lent by Mrs. Chauncey J. Blair. 

105 GREEN SILK AND SILVER SCARF. 

Stripes of pale pink and yellow. 
Persian. 
Gift of Mr. and Mrs. J. H. Wade. 

106 SILK BROCADE ON CLOTH-OF-GOLD. 

Conventional floral pattern in green, grey, blue and crim- 
son. 

Persian. 

Lent by Mrs. Chauncey J. Blair, 

107 BROCADE. 

Silk. Ogee pattern in silver on a black ground enclosing 
bunches of conventional flowers. 

Persian. 

The John Huntington Collection. 

108 SILK AND GOLD BROCADE (KINCOB). 

Crimson ground, bordered with peacocks. 
Indian. 
Gift of Mr. and Mrs. J. H. Wade. 

109 CASE OF ORIENTAL NATIVE JEWELRY. 

Gift of Mr. and Mrs. J. H. Wade. 



no CARPET. 

Indo-Persian. XVI Century. 

Lent by Mr. Lockwood de Forest. 



163 



GALLERY XIII— CHINESE ART 



TF there is one point connected with Ancient Chinese Art on 
which we may feel reasonably certain, it is that there is hardly 
one on which we are justified in being positive. From Shang 
bronze, which cannot be later than the Twelfth century before Christ, 
to Sung pottery which cannot be earlier than the Tenth after, 
there is scarcely one subject upon which it is possible to be sure 
that our position is impregnable. 

The chief of many reasons for this uncertainty would seem to 
lie in the reluctance of the Chinese themselves to permit anything 
in the way of excavation. Until this can be overcome, it must be 
impossible to establish a secure basis for the science of Chinese arch- 
aeology. When one of the very greatest authorities on this nebulous 
subject has to admit that he never, in the course of many long visits 
to China for the purpose of archaeological investigation, was able 
to be present at the opening of a burial place, what hope can less 
fortunate and erudite students have of solving these mysteries? 

The origins of Chinese art are still beyond our ken. The earliest 
date claimed by the Chinese themselves for any works of art known 
to have survived to historic times, is the Shang Dynasty B.C. 
1766-1123. Many bronze vessels are attributed to this era, but it is 
doubtful if any of them can be proved to have been made at such 
a remote period. When we reach the Chou Dynasty B.C. 1122-256 
we find ourselves on what seems to be surer ground. If we may be- 
lieve the inscriptions which a large number of these bronze vessels 
bear we have a standard whereby we may judge and classify unin- 
scribed pieces. 

It should be recorded that even the earliest of these objects is 
of workmanship so skilful as to testify to a long and still more 
remote past of experiment, the achievements of which are prob- 
ably forever lost to us. 

It may be well to remember that, besides the greater remote- 
ness of the earliest periods of any art, as a consequence of which 
fewer objects of these dates are likely to have survived the tooth of 
time and other chances of destruction, the natural increase of 
population renders it probable that more actual examples of any 
given object are likely to have been made at a later than at an 
earlier date. 

^6s 



THE CLEVELAND MUSEUM 

These remarks would seem to apply with equal cogency to 
objects made of jade. With the possible exception of a small quan- 
tity of pottery these two classes of works of art are all that have sur- 
vived to testify to the earliest arts of China. 

Of the style of the Han Dynasty B.C. 206-230 A.D., which 
after a brief interval of fifty years succeeded to the Chou, we are 
justified in judging more certainly, since many works of art of other 
kinds and materials besides bronze have come down to us from this 
era. 

An immense change appears to have come over the spirit of 
the Chinese race in the Han Dynasty. In any case we find a great 
development in the arts and for the first time a great increase in 
production, not merely of bronze and jade, but in pottery and sculp- 
ture. Both of these newer arts are well represented in this exhibi- 
tion, although the sculpture we possess is expressed through the 
medium of pottery ware. Sometime during this Dynasty, — or 
rather Dynasties, for Han was subdivided, — probably in the first 
century of our era. Buddhism reached China from India. So far 
as we may judge from existing remains it produced no great im- 
pression on the arts until about the Fifth century, when Han had 
passed away and a period known to historians as the Six Dynasties 
had succeeded. Under one of these, that of Northern Wei, 386 to 
549 A.D. Buddhism would seem to have become the dominant in- 
fluence in art and therefore probably in the community. Many 
allusions in the Chronicles reveal its growing importance before this 
date, and it is recorded that the persecutions of the religion, by the 
first king of this very Northern Wei Dynasty, drove one hundred 
thousand craftsmen from his kingdom to seek refuge in Korea, 
which would denote a large Buddhist community. 

If we may trust the inscriptions on existing stele and statues, 
the late Fifth and early Sixth centuries should supply us with an 
art which exhibits a well formed style of Chinese Buddhist sculp- 
ture. Despite their dependence, canonically, on the teachings of 
the Indian missionaries, the artists retained their Chinese method 
of representing sacred subjects and personages; even, as by de- 
grees, the insistence of the priests compelled a more rigid conform- 
ity with the scriptures in the case of the Buddha and his "canon- 
ized" attendants, on the lay side of art as we may call it, in proces- 
sions, or groups of donors and representations of events in the life 
of the Buddha himself, — they remained true to their national 
methods. This is also true of Taoist sculpture. 

166 



CHINESE ART 

The great monument of the art of these times is the sculp- 
tured decoration of the cave temples of Lung-men in Honan. As 
these can be dated from 500 A.D. onward, they provide us with 
standards for the measurement of the numerous works of sculp- 
ture, which have survived to adorn our collections. 

The empire was again consolidated under the Sui Dynasty 
581 to 617 A.D., which however was shortlived, and was succeeded 
in 618 by the great house of T'ang, which held sway for three hun- 
dred years. This was perhaps the first great and probably the great- 
est epoch of Chinese art. In an empire which covered the greater 
part of Asia, east of the Caspian and north of the Himalayas, and 
held diplomatic relations with the Byzantine emperors and the 
rulers of India, every foreign influence of the day must have been 
felt. As a consequence we find a great cosmopolitan art, which has 
only here and there been analyzed and in which new discoveries 
are almost daily revealing new surprises. We have yet to learn 
whether China originated or borrowed numerous motives common 
to the arts of T'ang and to those of the countries to the west and 
south. Painting, sculpture, the arts of the metal worker, the weaver 
and the potter all produced work of the utmost beauty and tech- 
nical skill. Indeed, it is credibte that in no field, except that of porce- 
lain making, did China again surpass the achievements of this 
golden age. Probably because more of it has survived to our day, 
the painting and the pottery of the Sung Dynasty, 960 to 1279 
A.D., would seem to rank higher than the production of the same 
arts under T'ang; indeed nothing, that has so far come to light, 
would justify us in believing that any pottery in the world is so 
fine as that of Sung, 

The next Dynasty of Yuan 1280 to 1367, saw the beginning of 
the end. China fell beneath a foreign yoke, that of the Mongols, 
who in the Thirteenth century changed the mastership of a great 
part of the civilized world. They were succeeded in 1368 by a na- 
tive Dynasty, the Ming, under whom the art of porcelain making 
took its first strides towards the prominence it assumed in the fol- 
lowing Ts'ing or Manchu Dynasty. This art reached its apogee 
under the emperors K'ang-hsi and his grandson, Ch'ien-lung, from 
which time most of the treasures of our collections date. 



167 



THE CLEVELAND MUSEUM 

DATES OF THE CHIEF DYNASTIES OF CHINA. 

Hsia 2205 B. C. to 1767 B.C. 

Shang 1766 1 123 

Chou 1 122 256 

Ch'in 255 207 

Han 206 220 A.D. 

The Six Dynasties 220 A.D. 587 

Northern Wei 386 549 

Sui 581 617 

T'ang 618 906 

Sung 960 1 279 

Yiian 1 280 1367 

Ming 1368 1643 

Including the reigns of: 
Hsuan-te 1426-1435 
Ching-t'ai 1450-1456 
Chia-ching 1 522-1566 
Ch'ing 1644 191 1 

Including the reigns of: 
K'ang-hsi 1662-1722 
Yung-cheng 1723-1735 
Ch'ien-lung 1736-1795 
Chia-ch'ing 1796-1820 

1 VOTIVE STELE. 

Marble. Kwanyin seated, surrounded by other Bodhi- 
sattva. Above is his Dhyani Buddha, surrounded by an- 
gels, with a pagoda guarded by dragons. Below are three 
Bodhisattva and two human-headed birds. 

North Wei Dynasty. Dated 440 A.D. 

Gift of Mr. and Mrs. Ralph King. 

2 PAINTING. 

In ink on silk. Mountains in Snow. 
Li chen. Sung Dynasty. 
Lent by Mr. Loo Ching Tai. 

168 



CHINESE ART 

3 SACRIFICIAL RICE VESSEL (TOU). 

Bronze. With a cover. Covered with ornament in low 
rehef. 

Han Dynasty. 

The John Huntington Collection. 

4 HORSE AND RIDER. 

Pottery. A woman. Traces of vermillion paint. These fig- 
ures were placed in the grave to attend the deceased. 

T'ang Dynasty. 

The John Huntington Collection. 

5 CAMEL. 

Pottery. With saddle bags, ornamented with head of 
Tao-t'ieh monster. Traces of vermillion and black paint. 

T'ang Dynasty. 

The John Huntington Collection. 

6 ARMED FIGURE. 

Pottery. Traces of vermillion, black and green paint on 
upper portion. Possibly representing Tamonten, one of 
the four guardians of the universe. 

T'ang Dynasty. 

The John Huntington Collection. 

7 MATRIX. 

Terra-cotta. For making moulds; probably for casting 
bronze placques. A bull. 

Uncertain date. 

Lent by Mr. Loo Ching Tai. 

8 ARMED FIGURE. 

Pottery. Traces of vermillion paint. These figures were 
placed in graves to guard the occupant. 

T'ang Dynasty. 

The John Huntington Collection. 

9 "GRANARY" JAR. 

Pottery. Green iridescent glaze. 

Han Dynasty. 

The John Huntington Collection, 
lo FIGURINE. 

Pottery. Woman. Glazed with brown on dress and green 
on scarf. 

T'ang Dynasty. 

The John Huntington Collection. 

169 



THE CLEVELAND MUSEUM 

1 1 BOWL. 

Pottery. From Rhages. Described under No. 56 in Gal- 
lery XII, Near Eastern Art. 

12 FIGURINE. 

Pottery. Woman. 
T'ang Dynasty. 
The John Huntington Collection. 

13 MATRIX. 

Terra-cotta. For making moulds; probably for casting 
bronze placques. A camel. 

Uncertain date. 

Lent by Mr. Loo Ching Tai. 

14 SACRIFICIAL TRIPOD VESSEL (TING). 

Bronze. Band of ornament round upper part. 
Sung Dynasty. 
The John Huntington Collection. 

15 HORSE. 

Pottery. From Honan. Glazed yellow and green. 
T'ang Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

16 WATER BOTTLE. 

Bronze. With bird's head cover. 
T'sin Dynasty. 
Lent by Messrs. Yamanaka and Company. 

17 TS'UNG. 

Jade. A hollow tube surrounded by a cube, representing 
Earth. In Han times she was hymned as the "Fertile 
Mother." 

The John Huntington Collection. 

18 TS'UNG. 

Jade. A hollow tube surrounded by a cube, representing 
Earth. 

The John Huntington Collection. 

19 VASE. 

With cover. Bronze. Inlaid partly with gold, partly with 
a composition. 

Later Han Dynasty. I or II Century A.D. 

Lent by M. Paul Mallon. 

170 



CHINESE ART 

ao MONSTER. 

Probably the T'u Kuei or Earth Spirit. Pottery. Glazed 
yellow, white and green. Head and face unglazed. 

T'ang Dynasty. 

Lent by M. Paul Mallon. 

21 FIGURINE. 

Pottery. Woman. Face glazed. Traces of vermillion paint 
on dress. 

T'ang Dynasty. 

The John Huntington Collection. 

22 FIGURINE. 

Pottery. Woman. Glazed; green and yellow. 
T'ang Dynasty. 
The John Huntington Collection. 

23 JAR. 

Pottery. Green glaze. 
Han Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

24 SACRIFICIAL VESSEL (TOU). 

Bronze. 

Chou Dynasty. 

Lent by Messrs. Yamanaka and Company. 

25 JAR. 

Pottery. Green glaze. 
Han Dynasty. 
Lent by Mr. T. Kuroda. 

26 JAR. 

Pottery. Decorated with ridges in low relief. Blue-green 
glaze. 

Han Dynasty. 

Gift of Mr. and Mrs. Ralph King. 

27 BELL. 

Bronze. The traveling bell of the Great Prince of Chou. . 
Chou Dynasty. 
Lent by Messrs. Yamanaka and Company. 

171 



THE CLEVELAND MUSEUM 

28 JAR. 

Pottery. Blue-green glaze. 
Han Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

29 RUBBING FROM A BAS-RELIEF OF THE T'ANG 
DYNASTY. 

Carved on the rock wall of one of the Cave Temples, Pin 
Yang Tung at Lung-men, in Honan. A cortege of Impe- 
rial devotees, possibly the founder of the Temple, his 
family and court. 

Gift of Messrs. Yamanaka and Company. 

30 RUBBING FROM A BAS-RELIEF OF THE T'ANG 
DYNASTY. 

Carved on the rock of one of the Cave Temples, Pin 
Yang Tung at Lung-men, in Honan. A cortege of Im- 
perial devotees, possibly the founder of the Temple, his 
family and court. 

Gift of Messrs. Yamanaka and Company. 

31 STATUE OF KWANYIN. 

Schistose rock. From Lung-men. 
Six Dynasties. 
Lent by Mr. Grenville L. Winthrop. 

32 STATUE OF KWANYIN. 

Standing on a lotus. Marble. In his tiara are seated fig- 
ures of the five Dhyani Buddhas. He carries in his right 
hand a vessel containing the water of Life. The tiara, the 
treatment of the hair, and the abundance and character 
of his jewels denote a strong Indian (Gupta) influence. 

T'ang Dynasty. 

Gift of Mr. and Mrs. Ralph King. 

33 STATUE OF THE BUDDHA O-MI'TO-FO. 

Seated, in the attitude of contemplation. White marble. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

172 



CHINESE ART 



34 PAINTING. 

Mandara, or Buddhist Pantheon. Full color. 
Sino-Tibetan. Early XVIII Century. 
Gift of Mr. Howard P. Eells. 



35 STATUE OF O-MI'TO-FO. 

Marble. 

T'ang Dynasty. 

Lent by Mr. Loo Ching Tai. 

36 STATUE OF KWANYIN. 

Stone. 

North Wei Dynasty. 

Lent by Messrs. Yamanaka and Company. 

37 PILASTER. 

Hollow tile. Rounded shaft, capital and base identical. 
• Ornamented in low relief with decorative motives; on 
each side, in a panel, is stamped the figure of a man hold- 
ing a halberd. 

Later Han Dynasty. II Century A.D. 
Gift of Mr. and Mrs. Ralph King. 



38 SACRIFICIAL VESSEL (TSUN). 
Bronze. Inlaid with gold and silver. 
Sung Dynasty or later. 
The John Huntington Collection. 



39 HEAD OF A BODHISATTVA. 

Life size. Black schistose rock. 
North Wei Dynasty. V Century. 
Gift of Mr. and Mrs. Ralph King. 

40 LOHAN. 

Terra-cotta. Glazed green, yellow and white. 
T'ang Dynasty. 
Lent by Mr. Loo Ching Tai. 

173 



THE CLEVELAND MUSEUM 

41 TAPESTRY. 

The Birthday Festival of the Emperor Ch'ien-lung. 
Chinese tapestry is so rare that this piece is ahnost unique. 
It was made as a present for Louis XV ot France who had 
sent some Gobehns tapestries to the Chinese Emperor. 
The border is a copy of those of the French set, but the 
remainder is purely Chinese. The number of stitches to the 
square inch is extraordinarily high, ranging from 700 to 
1 100, and the technique a remarkably skilful imitation of 
the Gobelins. It is not known why the gift was never sent, 
but the tapestry remained in the Palace at Jehol until it 
was stolen a few years ago. 

Chinese. XVIII Century. 

Lent by Mr. John L. Severance. 

42 HEAD OF A BODHISATTVA. 

Schistose rock. From Lung-men. 
T'ang Dynasty. 
Lent by Mr. Grenville L. Winthrop. 

43 VASE. 

Pottery. Ting type. Decorated with peonies, pheasants, etc., 
in low relief under a transparent glaze and cream-white slip. 

Ming Dynasty. 

Gift of Mr. and Mrs. Ralph King. 

44 PAIR OF BOTTLES. 

and Coral red porcelain. 
60 Ch'ien-lung Period. 

Lent by Mr. Loo Ching Tai. 

45 VASE. 

Porcelain. Celadon. Engraved under glaze. 
K'ang-hsi Period. 
Lent by the Messrs. Duveen. 

46 GINGER JAR. 

Porcelain. Blue and white. 
K'ang-hsi Period. 
Lent by Miss Mary C. Sears and Miss Agnes St. John. 

47 BOX. 

Pottery. Blueish-white glaze. 
Korean. 
Lent by Mr. T. Kuroda. 

174 



CHINESE ART 

48 JAR. 

Pottery. Kuang Tung ware. Decorated with peony scrolls 
in relief. Blue-white glaze. 

Gift of Mr. and Mrs. Ralph King. 

49 BOTTLE. 

Porcelain. Blueish celadon, crackled. Lang-yao. 
Ch'ien-Iung Period. 
Lent by the Messrs. Duveen. 

50 BOWL. 

Pottery. Melon-shaped. Transparent glaze over cream- 
colored slip. 

Sung Dynasty. 

Lent by Mr. Langdon Warner. 

51 WRITER'S SCREEN. 

Porcelain. Famille verte. 
K'ang-hsi Period. 

From the J. P. Morgan Collection. 
Lent by the Messrs. Duveen. 

52 BOTTLE. 

Porcelain. Powder-blue with white reserves filled with 
enamel decoration in colors. 

K'ang-hsi Period. 

From the J. P. Morgan Collection. 

Lent by the Messrs. Duveen. 

53 TRUMPET-SHAPED VASE. 

Porcelain. Palmettes incised under turquoise glaze. 
From the J. P. Morgan Collection. 
Lent by the Messrs. Duveen. 

54 VASE. 

Porcelain. Sang-de-boeuf. Celadon at base. Lang-yao. 
Late Ming or Early C'hing Dynasty. 
Lent by the Messrs. Duveen. 

55 BOTTLE. 

Porcelain. Deep blue. 
Ch'ien-lung Period. 
Lent by the Messrs. Duveen. 

56 GINGER JAR. 

Porcelain. Five colors. 
K'ang-hsi Period. 
Lent by Miss Mary C. Sears and Miss Agnes St. John. 

175 



THE CLEVELAND MUSEUM 

57 AMPHORA-SHAPED VASE. 

Porcelain. Peachblow. Marked, Ta Ch'ing K'ang-hsi 
nienchih. 

K'ang-hsi Period. 

From the J. P. Morgan Collection. 

Lent by the Messrs. Duveen. 

58 GINGER JAR. 

Porcelain. Apple-green. Lang-yao. 
XVII Century. 
Lent by the Messrs. Duveen. 

59 BOWL. 

Porcelain. Clair-de-lune. Six-character mark. 
K'ang-hsi Period. 
Lent by the Messrs. Duveen. 

60 PAIR OF BOTTLES. 

See No. 44. 

61 JAR. 

Pottery. T'zu Chou ware. Decorated with leaf scroll pat- 
tern, cut through a dark brown glaze, revealing the grey 
clay as a background. 

Gift of Mr. and Mrs. Ralph King. 

62 BOX. 

Porcelain. Peachblow. Six-character mark. 
K'ang-hsi Period. 
Lent by the Messrs. Duveen. 

63 VASE. 

Porcelain. Apple-green, crackled. 
Lent by the Messrs. Duveen. 

64 PLATE. 

Pottery. Ting ware. Decorated inside with flower pat- 
terns in low relief under a cream-white glaze. 

Sung Dynasty. 

The John Huntington Collection. 

65 JAR AND COVER. 

Porcelain. Mirror-black. 

Lent by the Messrs. Duveen. 

176 



CHINESE ART 

66 CYLINDRICAL POT AND COVER. 

Porcelain. Powder-blue, with white reserves with flowers 
and ornaments in enamel colors. 

K'ang-hsi Period. 

From the J. P. Morgan Collection. 

Lent by the Messrs. Duveen. 

67 BOWL. 

Pottery. Decorated inside and out with chrysanthemum 
designs, lightly incised under a slightly blueish celadon 
glaze. 

Korean. Korai Period. 920-1392 A.D. 

Lent by Mr. Langdon Warner. 

68 SAUCER. 

Pottery. Hakugorai ware. Scalloped rim and fluted sides. 
Transparent blueish glaze. 

Korean. Korai Period. 920-1392 A.D. 

Lent by Mr. Langdon Warner. 

69 BOWL. 

Pottery. Olive celadon glaze. 

Korean. Korai Period. 920-1392 A.D. 
Lent by Mr. Langdon Warner. 

70 BOTTLE. 

Pottery.Tingtype.Transparent glaze over cream-white slip. 
Yiian Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

71 PAIR OF WIDE-MOUTHED JARS. 

Pottery. Chiin ware. Grey-blue glaze with purple splashes. 
Yuan Dynasty. 
Lent by Mr. S. T. Peters. 

72 BOTTLE. 

Pottery. T'zu-chou ware. Decorated with flower patterns 
in green and purple on a cream-slip under a transparent 
glaze. 

Lent by Mr. S. T. Peters. 

73 BOX. 

With five smaller boxes inside. Pottery celadon, inlaid 
with black and white. 

Korean. Korai Period 920-1392 A.D. 

Lent by Messrs. Yamanaka and Company. 

177 



THE CLEVELAND MUSEUM 

74 JAR. . , ^ , 

Pottery. T'zu Chou ware. Decorated with floral sprays 
in black under glaze. Slip intended to be cream-white, 
but by accident is purplish grey. 
Gift of Mr. and Mrs. Ralph King. 

75 BOTTLE. 

Porcelain. Coral-red. 

Lent by the Messrs. Duveen. 

76 JAR. 

Pottery. T'zu-chou ware. Decorated with olive slip cut 
through, revealing brown clay as a background. 
Lent by Mr. S. T. Peters. 

77 PAINTING. 

In ink on silk. The Rain Storm, by Hsia Kuei. 

Sung Dynasty. 

Lent by Messrs. Yamanaka and Company. 

78 PILLAR RUG. 

Lent by Mr. Frederic Moore. 

79 COLOSSAL HEAD OF BUDDHA. 

Grey marble. 

North Wei style. Possibly Archaistic. 
The Worcester R. Warner Collection. 

80 RECTANGULAR HOLLOW TILE. 

Ornamented on the two larger faces with three frieze-like 
repetitions of stamps. The upper band shows two de- 
moniac figures chasing one another through a mountainous 
waste. The second, a tiger, springing on a fleeing horse, 
and the lower, a horseman shooting a wild ass with a bow 
and arrow. 

These tiles are said to be called "Music stand bricks" by 
the Chinese, and may have been used to increase the reso- 
nance of harps and other instruments which were rested 
on them. 

Later Han Dynasty. II Century A.D. 

Gift of Mr. and Mrs. Ralph King. 

178 , 



CHINESE ART 

8 1 RECTANGULAR PIOLLOW TILE. 

With a projection at one end. Stamped in relief, but 
countersunk below the surface, with various patterns; 
among them a man driving a cart, a monster head with 
a ring in its mouth, such as appears in lieu of handle on 
Han jars, a knot and other devices. The arrangement of 
these shows that the tile stood upright on end. 

Later Han Dynasty. II Century A.D. 

Gift of Mr. and Mrs. Ralph King. 

82 PAINTING. 

Ink and color on silk. A Nobleman with his Servant. 
Sung Dynasty. 
Lent by Mr. Loo Ching Tai. 

83 RECTANGULAR HOLLOW TILE. 

Stamped in intaglio with a phoenix, repeated four times 
on each side. Bordered with a diamond diaper pattern. 

Later Han Dynasty. II Century A.D. 

Gift of Mr. and Mrs. Ralph King. 

84 PILLAR RUG. 

Lent by Mr. Frederic Moore. 

85 FLAT BOTTLE-SHAPED VESSEL. 

Bronze. Decorated with scrolls in rectangles, the dividing 
bands incrusted with gold and silver. 

Late Sung Dynasty. 

Lent by M. Paul Mallon. 

86 PILASTER. 

Hollow tile. Rounded shaft, capital and base identical. 
Ornamented in low relief, with decorative motives. On 
each side in a panel is stamped the figure of a man holding 
a halberd. 

Later Han Dynasty. II Century A.D. 

Gift of Mr. and Mrs. Ralph King. 

87 BOTTLE. 

Pottery. Ting ware. Cream-white slip under a transparent 
glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

179 



THE CLEVELAND MUSEUM 

S8 PLATE. 

Pottery. Ting ware. Decorated with flowers and scrolls 
in relief under a white glaze. 

Sung Dynasty. 

Gift of Mr. and Mrs. Ralph King. 

89 FLOWER-POT. 

Pottery. Chiin ware. Opalescent grey-blue glaze. Marked 
07^e in Chinese characters. Has been cut down. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

90 VASE. 

Pottery. T'zu-chou ware. Decorated with flowers in brown 
on a cream slip under a transparent glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

91 BOTTLE. 

Pottery. Chun ware. Brilliant turquoise glaze with one 
deep purple splash. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

92 PILLOW. 

Pottery. T'zu-chou ware. Decorated with figure subjects 
in panels in black on a cream-white slip under a transparent 
glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

93 INCENSE BURNER. 

Pottery. Chiin ware. With six legs. Decorated with rams' 
heads in relief. Greenish turquoise glaze, crackled. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

94 BOTTLE. 

Pottery, T'zu-chou ware. Decorated with flower sprays 
in brown on a cream-white slip under a transparent glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

180 



CHINESE ART 

SS TRIPOD "BULB" BOWL. 

Pottery. Chiin ware. Grey-blue glaze. 

The so-called "Bulb" bowls were made as saucers for the 

flower-pots. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

96 DEEP BOWL. 

Pottery. Chiin ware. "Moonlight" purple-blue opalescent 
glaze. 

Yuan Dynasty. 

Lent by Mr. S. T. Peters. 

97 INCENSE BURNER. 

Pottery. Chiin ware. Blue glaze. 
Sung Dynasty. 
Lent by Mr. S. T. Peters. 

98 PAIR OF FLOWERPOTS AND SAUCERS. 

and Pottery. Chiin ware. Rectangular oblong. Marked ten in 

99 Chinese characters. The flowerpots are purple outside, 
blue inside. The saucers are various tones of grey. 

Sung Dynasty. 

Lent by Messrs. Yamanaka and Company. 

100 VASE WITH FOUR FLANGES. 

Pottery. Chiin ware. Purple outside, blue inside. Has 
been cut down from a tall beaker shape. 

Sung Dynasty. 

Lent by Messrs. Yamanaka and Company. 

10 1 TRIPOD INCENSE BURNER. 

Pottery. Chiin ware. Lavender-blue glaze. 
Sung Dynasty. 
Lent by Mr. S. T. Peters. 

102 BOX AND COVER. 

Pottery. Chiin ware. Blue glaze with purple blotch on the 
top. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

103 OVAL BOWL IN THE SHAPE OF A PEACH. 

Pottery. Ting ware. Moulded inside in low relief with 
flower scrolls. Cream-white glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

181 



THE CLEVELAND MUSEUM 

104 BOTTLE. 

Pottery. Ting type. Cream-buff slip under transparent 
crackled glaze. 

Sung, or possibly T'ang Dynasty. 

Lent by Mr. S. T. Peters. 

105 OIL JAR. 

Pottery. T'zu-chou ware. Decorated with palmette scroll 
cut through brown slip revealing the grey clay as a back- 
ground. 

Lent by Mr. S. T. Peters. 

106 VASE. 

Pottery. Flower scrolls carved in the clay under a pale- 
blue glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

107 VASE. 

Pottery. Tu Ting ware. Cream-white glaze. 
Sung Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

108 BOTTLE. 

Pottery. Chiin ware. Blue glaze with purple splash. 
Sung Dynasty. 
Lent by Mr. S. T. Peters. 

109 JAR. 

Pottery. T'zu Chou ware. Decorated with floral design in 
panels, in black, on a cream-white slip, under a transparent 
glaze. 

Gift of Mr. and Mrs. Ralph King. 

no BOWL. 

Pottery. Ting ware. Decorated, outside in relief with lotus 
petals, inside with fish incised, all under a grey-white 
glaze. 

Sung Dynasty. 

Lent by Mr. S. T. Peters. 

Ill BOWL. 

Pottery. Chiin ware. Opalescent blue glaze. 
Sung Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

182 



CHINESE ART 

112 BOWL. 

Pottery. Chiin ware. Opalescent blue glaze. 
Yuan Dynasty. 
Gift of Mr. and Mrs. Ralph King. 

1 13 FIGURE OF A CHILD. 

Pottery. T'zu-chou ware. Painted with red, black and 
green on a white slip. 

Lent by Mr. S. T. Peters. 

114 PILLOW. 

Pottery. T'zu Chou ware. Decorated with drawings of a 
stag on top and floral scrolls on side, in black, on a 
cream-white slip under a transparent glaze. 

Sung Dynasty. 

Gift of Mrs. Langdon Warner. 

115 PAINTING. 

Ink and color on silk. Returning from a Spring Journey. 
Ma Yuan. Sung Dynasty. 
Lent by Mr. Loo Ching Tai. 

116 O-MI'TO-FO TRINITY. 

Marble. Late T'ang style. Archaistic. 
The John Huntington Collection. 

117 LOTUS THRONE. 

White marble. The pedestal of a seated Buddha, now lost, 
whose drapery depends over portion of the upper lotus; 
the base, a reversed lotus, carries an octagonal drum, 
carved in low relief, with figures of disciples standing in 
niches, and with inscriptions. 

T'ang Dynasty. Dated 629 A.D. 

The Worcester R. Warner Collection. 

118 WAR DRUM. 

Bronze. With frogs on top. ^ 
Han Dynasty. 
Lent by Messrs. Yamanaka and Company. 

119 CARPET. 

Silk. From the palace at Jehol. 
Ching Dynasty. 
Lent by Mr. A. W. Bahr. 

183 



THE CLEVELAND MUSEUM 

1 20 CARPET. 

C'hing Dynasty. 

The John Huntington Collection. 

121 SILK TAPESTRY. (K'O-SSU.) 

Rocks and flowers. 
Ch'ing Dynasty. 
The John Huntington Collection. 

122 SILK TAPESTRY. (K'O-SSU.) 

Rocks and flowers. 
Ch'ing Dynasty. 
The John Huntington Collection. 

123 BOWL. 

Glass. Surface disintegrated by burial. 
Possibly Sung Dynasty. 
The Worcester R. Warner Collection. 

124 TRAY. 

Red "Coromandel" lacquer. 
Ming Dynasty. 
Lent by Mr. T. Kuroda. 

125 PI. 

Jade. A circular disc symbolizing Heaven. These pi were 
probably used in sacrifices to him. Smaller pi than this 
were offered to the Emperor by feudal princes or were 
used in burial ceremonies. 

Han Dynasty. 

The John Huntington Collection. 

126 KUEI PI. 

Jade. A combination of two emblems usually employed 
in the worship of the sun, moon and stars. 

C'hing Dynasty. 

The John Huntington Collection. 

127 BOWL. 

Jade. Carved with rocks and waves. 
C'hing Dynasty. Reign of K'ang Hsi. 
The Worcester R. Warner Collection. 

128 KUEI. 

Jade. A symbol of rank; used in different sizes and shapes 
by the Emperor and feudal princes. 

Han Dynasty. 

The John Huntington Collection. 

184 



CHINESE ART 

129 SWORD. 

Bronze. 

Uncertain date. 

The Worcester R. Warner Collection. 

130PLACQUE. 

Bronze inlaid with turquoise. Probably part of a suit of 
armor. 

Sung [?] Dynasty. 

Lent by Mr. Loo Ching Tai. 

131 STATUETTE. 

Ivory. Female figure, carrying a child. Perhaps Kwanyin 
(Hariti), or Maya with the infant Buddha. 

Uncertain date. 

Gift of Mr. A. W. Bahr. 

132 A WINGED TIGER-HEADED MONSTER. 

Bronze. Probably a ya-hsiu (sleeve-weight) to retain in 
place the robes of the dead. The tiger was regarded as 
potent against evil spirits. 

T'ang Dynasty. 

The Worcester R. Warner Collection. 

133 CLASP. 

Bronze, incrusted with gold and silver, somewhat in the 
shape of a Tao-t'ieh monster head. 
The Worcester R. Warner Collection. 

134 CLASP. 

Bronze. Inlaid and incrusted with gold and silver. It has 
two studs on the inner side; very unusual. 

T'ang Dynasty. 

The Worcester R. Warner Collection. 

135 CLASP. 

Bronze. Incrusted with gold. Shaped like a dragon. 
"Scythian" tendency to break up convolutions with other 
animal or birds' heads. 
The Worcester R. Warner Collection. 

136 CLASP. 

Bronze, incrusted with red gold. Roughly dragon-shaped. 
"Scythian" influence. 
The Worcester R. Warner Collection. 

185 



THE CLEVELAND MUSEUM 

137 CLASP. 

Iron, incrusted with gold and silver. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

138 CLASP. 

Iron, incrusted with gold and silver. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

139 CLASP. 

Iron, incrusted with gold and silver. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

140 CLASP. 

Iron, incrusted with gold and silver. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

141 CLASP. 

Iron, incrusted with gold and silver. 
T'ang Dynasty. 
The Worcester R. Warner Collection. 

142 CLASP. 

Iron, incrusted on both sides with silver, on the front with 
gold also. 

T'ang Dynasty. 

The Worcester R. Warner Collection. 

143 CLASP. 

Iron, incrusted on both sides with silver, on the front with 
gold also. 

T'ang Dynasty. 

The Worcester R. Warner Collection. 

With these Chinese clasps are shown several objects of iron 
incrusted with precious metals, in a technique and even in a style 
of ornament of a startling similarity. These buckles and placques 
are of Merovingian make, about the VI Century A.D., approxi- 
mately contemporaneous with the T'ang clasps, and are from 
graves in the East of France. 

186 



CHINESE ART 

144 PLACQUE OF A BUCKLE. 

Iron, incrusted with silver. At each corner is a gilt bronze 
stud. 

Merovingian. 

The Worcester R. Warner Collection. 

145 CIRCULAR PLACQUE. 

Iron, incrusted with silver. 
Merovingian. 
The Worcester R. Warner Collection. 

146 BELT BUCKLE AND TANG. 

Iron, incrusted with silver. Three bronze studs on each 
served to fasten them to the leather. 

Merovingian. 

The Worcester R. Warner Collection. 

147 BUCKLE. 

Iron, incrusted with silver. Three bronze studs served to 
fasten it to the leather. On the tang is inlaid a triangular 
piece of red paste. 

Merovingian. 

The Worcester R. Warner Collection. 

148 PLACQUE. 

Iron, incrusted with silver and gold. Two gilt bronze studs. 
Merovingian. 
The Worcester R. Warner Collection. 

149 PLACQUE. 

Iron, incrusted with silver. 
Merovingian. 
The Worcester R. Warner Collection. 

150 RECUMBENT OX. 

Gilt bronze. 
Uncertain date. 
The Worcester R. Warner Collection. 

151 RECUMBENT OX. 

Gilt bronze. 
Uncertain date. 
The Worcester R. Warner Collection. 

187 



THE CLEVELAND MUSEUM 

152 MIRROR. 

"White bronze." With eight round lobes. Ornamented 
with two flying birds carrying tassels and two mandarin 
ducks. Bees and flower sprays alternate in the lobes. 

T'ang Dynasty. 

Lent by Mr. Langdon Warner. 

153 MIRROR. 

Bronze. 

Six Dynasties. 

The John Huntington Collection. 

154 MIRROR. 

"White Bronze". So-called "Grape and Seahorse" pattern 
of vine rinceaux with animals, birds and insects. 

T'ang Dynasty. 

The John Huntington Collection. 

155 MIRROR. 

Bronze. Ornamented with two lions and two Ho-o 
(phoenixes) clouds, insects and sprays of flowers. 

T'ang Dynasty. 

Lent by Mr. Hervey E. Wetzel. 

156 SILVER GORGET. 

With chains for suspension. Set with a turquoise deity, 
supported by two Naga figures, in the centre of a mass of 
precious and semi-precious stones, arranged symmetrically 
in an ornamental fashion. 

Tibetan. 

Gift of Mr. and Mrs. J. H. Wade. 

157 GOLD AND JEWELED PENDANT. 

With chain for suspension. Four divinities, the principal 
seated beneath a nine-headed Naga canopy, on an elab- 
orate throne. 

Tibetan. XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

158 PAIR OF GOLD EARRINGS. 

Filagree, set with precious and semi-precious stones. Four 
minute figures, one of emerald, one of coral, and two of 
lapis-lazuli. The back is also filagreed and jeweled. 

Tibetan. Perhaps XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 



CHINESE ART 

159 GOLD PENDANT. 

Set with precious stones. A green Tara is seated under a 
Naga canopy of seven serpents' heads, between two atten- 
dant Nagas with lapis-lazuli faces. 

Tibetan. Probably XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

160 GOLD PENDANT. 

With a lapis-lazuH Tara. Perhaps a restoration. The at- 
tendants' faces are turquoise. 

Tibetan. 

Gift of Mr. and Mrs. J. H. Wade. 

161 PAIR OF GOLD PENDANTS. 

Jeweled. A deity with lapis-lazuli face and arms rides on 
the back of a Garuda with turquoise wings. The back is 
filagreed and set with jewels. 

Tibetan. Probably XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

162 GOLD AND JEWELED ORNAMENT. 

In the shape of a peacock. 
Tibetan. 
Gift of Mr. and Mrs. J. H. Wade. 

163 GOLD AND JEWELED ORNAMENT. 

In the shape of a peacock. 
Tibetan. 
Gift of Mr. and Mrs. J. H. Wade. 

164 GOLD PENDANT. 

Repousse, with the figure of a deity seated, under a nine- 
headed Naga canopy, on the back of a Garuda perched 
on a crescent. Ornamented with seedpearls. 

Tibetan. Probably XVII Century. 

Gift of Mr. and Mrs. J. H. Wade. 

165 GOLD PENDANT. 

Tibetan. Probably XVII Century. 
Gift of Mr. and Mrs. J. H. Wade. 

189 



THE CLEVELAND MUSEUM 

1 66 GOLD CHARM CASE. 

With cords for suspension. Repousse in conventional pat- 
tern, and set with a rehef of Ganesha in the centre, sur- 
rounded by precious stones. 

Tibetan. 

Gift of Mr. and Mrs. J. H. Wade. 

167 GOLD CHARM CASE. 

Encrusted with turquoise and other precious stones. 
Among other ornaments are four heads of Garudas in 
turquoise. 

Tibetan. 

Gift of Mr. and Mrs. J. H. Wade. 

168 GOLD CHARM CASE. 

Tibetan. 

Gift of Mr. and Mrs. J. H. Wade. 

169 VASE. 

Feldspar. In the form of a carp and waves. 
Chi'ng Dynasty. 
Lent by Mr. Michael Dreicer. 

170 BOX. 

Jade.^ 

Ch'ing Dynasty. 

Lent by Mr. Michael Dreicer. 

171 COVERED VASE. 

Green jade. 
Modern. 
The Worcester R. Warner Collection. 

172 MANDARIN'S NECKLACE. 

Jade. With coral and metal pendants. 
Modern. 
The Worcester R. Warner Collection. 



190 



GALLERY XIV— JAPANESE ART 



UNTIL the middle of the Sixth century of the Christian era 
Japan had no art worthy of mention. In the year 552 
Buddhism was introduced into Japan by the way of Korea 
and with it the arts attendant upon that religion. These were 
unquestionably Chinese, as was the art of the peninsula through 
which Japan derived them. Not that Japan to a great extent and 
Korea to a much lesser did not modify with their own spirit the 
parent art, but that as each successive wave of inspiration arose 
in China it broke with more or less force upon the lands to the East, 
always leaving its mark on the spirit of their civilization. 

Thus it may be briefly said that the art of the Suiko era, was 
that of Northern Wei; T'ang influence began to be felt in Hakuho 
and throughout Tempyo, Jogan and Fujiwara was the dominant 
feature in all the arts. It was gradually absorbed by the native 
genius which at times achieved so much independence of its teach- 
er that though the inspiration remained Chinese the spirit and tech- 
nique in which it manifests itself are so original as to render con- 
fusion of the styles impossible. Thus the great art of the Tosa 
school has little that we can identify as Chinese. 

By the end of the Kamakura period, this divergence had reached 
its extreme, when the arrival from China of the Zen sect of Budd- 
hism, with its attendant styles in art, — the landscape painting of 
Sung in especial, — once more submerged the budding independence 
of Japanese artists. 

The art, pre-eminently, of Ashikaga, that of the Kano school, 
was avowedly founded upon that of Sung. Out of this again rose 
an art for which we know at present no Chinese exemplar, that of 
Yeitoku and the still more original school of Koyetsu. 

The art of the Ukiyoye, which reached its climax in the Eigh- 
teenth century under the Tokugawa Shogunate, was another which 
owed nothing to the Chinese. 

Except in the Museum of Fine Arts, Boston, Japanese art of 
earlier date than Kamakura is practically not to be seen out of 
Japan; even Kamakura art is most infrequent in Western collec- 
tions. 



191 



THE CLEVELAND MUSEUM 

DATES USED IN CLASSIFYING JAPANESE ART 



Nara 


About 


700- 800 


Heian 


a 


800- 900 


Fujiwara 


(C 


900-1200 


Kamakura 




I 200- 1 400 


Ashikaga 




1 400- 1 600 


Toyotomi 




1 600- 1 700 


Tokugawa 




1 700- 1 8 50 


Meiji 




1870-1912 



1 KWANNON BEARING A LOTUS. 

Wood. Carved, lacquered and gilt. 
Tempyo Period. 
Lent by Mr. Henry Golden Dearth. 

2 PAIR OF SIX-FOLD SCREENS. 

In color on paper. Signed. 
Sotatsu. Tokugawa Period. 
Lent by Mr. T. Kuroda. 

3 PAINTING. 

In color on paper. Sacred Shinto Horses. 
Tosa School. 
Lent by Mr, Dikran G. Kelekian. 

4 PAINTING. 

In ink and color on silk. Rakan. 
Kamakura Period. 
Lent by Mr. Dikran G. Kelekian. 

5 PAINTING. 

Shaka attended by Fugen and Monju; in ink and color, 
with gold outline on silk. 

Kamakura style. 

Lent by Messrs. Yamanaka and Company. 

6 PAINTING. 

In ink on paper. The Dragon. Kano Hogai, d. 1888. 
Meiji Period. 
Lent by Mrs. E. E. Fenollosa. 

192 



JAPANESE ART 

7 STATUE OF YAKUSHI, THE BUDDHA OF HEAL- 
ING. 

Wood; lacquered and gilt. 
Tokugawa Period. 
The Worcester R. Warner Collection. 

8 TWO BUDDHIST LIONS (SHISHI). 

and Carved wood with traces of color. 

9 Ascribed to Kamakura Period. 
Lent by Mr. T. Kuroda. 

10 PAINTING. 

In color on silk. Yakushi and Ju-ni Jinsho (God of Healing 
and twelve warrior kings). The central figure has been 
slightly repainted; the subsidiary figures are drawn in the 
non-hierarchial manner introduced from China during the 
previous century. 

Kyoto. Late Kamakura. 

Lent by Mr. Joseph B. Warner. 

11 STATUE OF THE FOUR-ARMED KWANNON. 

Wood; carved, lacquered and gilt. 
Kamakura Period. 
Lent by Messrs. Yamanaka and Company. 

12 PAINTING. 

In ink and color on silk. Portrait of a Buddhist priest. 
Ashikaga Period. 
Lent by Mr. Dikran G. Kelekian. 

13 COLOSSAL HEAD OF BUDDHA. 

Gilt bronze. 

Lent by Messrs. Yamanaka and Company. 

14 SIX-LEAVED SCREEN. NEW YEAR'S FESTIVAL. 

Color on gold. 

Shoi School. XVIII Century. 
Lent by Mr. Hervey E. Wetzel. 

15 PAINTING. 

In color on paper. Horseman. 
Tosa School. 
Lent by Mr. Dikran G. Kelekian. 

193 



THE CLEVELAND MUSEUM 

1 6 PAINTING. 

In color on paper. A Lady. Ukiyoye School. 
Lent by Mr. Dirkan G. Kelekian. 

17 TWO KAKEMONO. 

In color on silk. Birds and flowers. Kano Utanosuke 
b. 1514. d. 1575. 

Ashikaga Period. 

The Worcester R. Warner Collection. 

18 HEAD OF A BOSATSU. 

Dried lacquer ( Kanshitsu.) 
Ascribed to Tempyo Period. 
Lent by Mr. T. Kuroda. 

19 MAKIMONO. 

Full color and gold on paper. History of Kitano-Tenjin, 
by Tosa Mitsuyuki. Extant 1356. 

Kamakura Period. 

Lent by Messrs. Yamanaka and Company. 

20 MAKIMONO. 

Full color on paper, Genre subjects. 

In the "Yamato" style of the Kamakura Period. 

Probably Tokugawa Period. 

Lent by Mr. T. Kuroda. 

21 INCENSE BOX. 

Lacquer. 

Tokugawa Period. 
Lent by Mr. T. Kuroda. 

22 BOX. 

Lacquer. Decorated outside on a Mishima (gold-dust) 
ground, with butterflies and ferns in gold lacquer and 
mother-o'-pearl inlay; on the tray inside, with plum- 
blossoms in gold lacquer. 

Early Tokugawa Period. 

The Worcester R. Warner Collection. 

23 STATUETTE OF KWANNON. 

Bronze. 

Lent by Mr. T. Kuroda. 

194 



JAPANESE ART 

24 MIRROR. 

Bronze. Eight-pointed lobes. Centre ornamented with two 
birds among flowering sprays; border of conventional 
flower and wave forms. 

Fujiwara Period. 

Lent by Mr, Hervey E. Wetzel. 

25 INK STONE AND BOX. 

Wood carved and lacquered. 
Ascribed to Kamakura Period. 
Lent by Mr. T. Kuroda. 

26 HIDEHIRA SUTRA. 

Buddhist scripture written in gold and silveron blue paper. 
Fujiwara Period. 
Lent by Mr. T. Kuroda. 

27 TEA JAR. 

Seto ware. 

Lent by Mr. T. Kuroda. 

28 TEA BOWL. 

Seto ware. 

Lent by Mr. T. Kuroda. 

29 BOTTLE. 

Bronze. 

Korean. Possibly early XVIII Century. 
The Worcester R. Warner Collection. 

30 JAR (CHIEN-YAO) 

Tenmoku type. 

Lent by Mr. T. Kuroda. 

31 LONG SWORD (KATANA). 

By Sukesune. XV Century. 
Lent by Prof. F. M. Pedersen. 

32 LONG SWORD (KATANA). 

By Tadatsune. XVIII Century. 
Lent by Prof. F. M. Pedersen. ' 

33 SHORT SWORD (WAKIZASHI). 

By Kanesada. XV Century. 
Lent by Prof. F. M. Pedersen. 

^9S 



THE CLEVELAND MUSEUM 

34 SHORT SWORD (WAKIZASHI). 

By Yasutzugu. 

Lent by Prof. F. M. Pedersen. 

to INRO WITH NETSUKE. 

47 

Gift of Mr. D. Z. Norton. 

Inro (medicine cases) were popularly used during Gen- 
roku times, 1688-1703, but were produced in quantities 
during late periods. Like the sword scabbards they dis- 
play the different processes of lacquer-making, and the 
best workers often turned their hands to their manufac- 
ture. These shown here are of late date, but are nearly 
all signed with the name of the maker. 

48 SWORD-GUARD (TSUBA). 

Wrought iron, inlaid with gold. Signed Masafusa. 
Ito School. XVIII Century. 
Gift of Mr. J. H. Donahey. 

49 SWORD-GUARD (TSUBA) 

Wrought iron. Signed Tomonobu. 

Choshui School. Third quarter of the XVIII Century. 
Gift of Mr. J. H. Donahey. 

50 SWORD-GUARD (TSUBA). 

Wrought iron, inlaid with gold. Signed Masakata. 
Ito School. Second quarter of the XIX Century. 
Gift of Mr. J. H. Donahey. 

51 HOUSE SHOP. 

Pottery. Awata Ware. 
Lent by The John Herron Art Institute. 

52 MONKEY. 

Carved wood. 

Ascribed to Kamakura Period. 
Lent by Mr. T. Kuroda. 

53 COSTUME FOR THE NO DANCE. 

Silk gauze with design of fans and wistaria on a red back- 
ground. 

The Worcester R. Warner Collection. 

196 



JAPANESE ART 

54 COSTUME FOR THE NO DANCE. 

Gold brocade, with design of peony scrolls on a red back- 
ground. 

The Worcester R. Warner Collection. 

55 COSTUME FOR THE NO DANCE. 

The kiri-flower crest on a gold and blue-green background. 
The Worcester R. Warner Collection. 

56 COSTUME FOR THE NO DANCE. 

Design of fans and flowers and basketwork on a red 
ground. 

The Worcester R. Warner Collection. 

57 COSTUME FOR THE NO DANCE. 

Design of aoi-flower scrolls on a grey-brown ground. 
The Worcester R. Warner Collection. 

58 COSTUME FOR THE NO DANCE. 

Stencilled designs of flowers and fret-work on a red ground. 
The Worcester R. Warner Collection, 

59 COSTUME FOR THE NO DANCE. 

Design of autumn flowers in medallions, and basketwork, 
on a red ground. 

The Worcester R. Warner Collection. 

60 COSTUME FOR THE NO DANCE. 

Gold brocade. Conventional design of lightning and floral 
medallions on a purple ground. 

The Worcester R. Warner Collection. 

61 COSTUME FOR THE NO DANCE. 

Gold brocade clouds on a white ground. 
The Worcester R. Warner Collection. 

62 COSTUME FOR THE NO DANCE. 

Check pattern with pink band ornamented with white mon. 
The Worcester R. Warner Collection. 

63 COSTUME FOR THE NO DANCE. 

Stencilled design of conventionalized fish-scales in gold 
on blue. 

The Worcester R. Warner Collection. 

197 



THE CLEVELAND MUSEUM 

64 COSTUME FOR THE NO DANCE. 

Design of fans and flowers and conventionalized lightning 
on a red ground. 

The Worcester R. Warner Collection. 

65 PRIEST'S ROBE (KESA). 

Lent by Mr. E. G. Kennedy. 

66 PRIEST'S ROBE (KESA). 

Lent by Mr. E. G. Kennedy. 

67 PRIEST'S ROBE (KESA). 

Lent by Mr. E. G. Kennedy. 

68 SCREEN (RAMMA.) 

Lotus and wave. Carved wood. 
Tokugawa Period. XVI century. 
Lent by Mr. J. Templeman Coolidge. 

69 SCREEN (RAMMA.) 

Birds and waves. Carved wood. 
Tokugawa Period. 1700 A.D. 
Lent by Mr. J. Templeman Coolidge. 

70 SWORD GUARD (TSUBA) 

Wrought Iron. 
Lent by Mr. Langdon Warner. 

71 PLACQUE. 

Terra-cotta. Colored. On one side, in high relief, Gokei- 
Monju, seated on a lotus throne between two standing 
Bosatsu; on the other a Sanscrit character on a lotus. 

Fujiwara Period. 

The Worcester R. Warner Collection. 



SEE ALSO THE FOLLOWING OBJECTS SHOWN IN GALLERY XI. 
1-26 Spaulding Collection of Prints. 

27 Statue of Amida. 

28 Head Dress for No Dance. 
29-30 Temple Ornaments. (Kenman) 

31 Screen. (Ramma) 

198 



GALLERY XV— ANCIENT EGYPTIAN ART 



THE strides made within recent years in the science of Egypt- 
ology, have made possible an accuracy in the classification 
and dating of objects excavated which was undreamt of even 
by our immediate predecessors. 

It is now realized that so far back as any civilization existed in 
the Nile Valley, it was much of the same type as in the historic 
period. The river and its periodic rise and fall have always domi- 
nated the habits of the inhabitants. Isolated by the deserts about 
them, they have always as now, looked to the Nile for their very 
existence. Consequently the earliest peoples of whom we find traces, 
were agricultural, herdsmen, and to a limited extent huntsmen. The 
river afforded them the easiest means of intercourse, so that they 
have always been boatmen too. Their origin is as yet undeter- 
mined, but it is reasonably certain that somewhere about 4000 
B.C. a race related to the Berbers of North Africa was in occupation 
of the country throughout its length. It is evident from their re- 
mains that they had passed well beyond the primitive stage in most 
of the arts of life. In their arts and crafts they have always been 
skilled stone-workers; the neolithic flints of the Predynastic Egyp- 
tians present us with the most accomplished technique in that craft 
known throughout the world, while their slate palettes, though 
more primitive in design, are as finely worked as the sculptures of 
their successors. They wove linen, their handmade pottery was not 
excelled, often not equalled by that of later periods in Egypt, and 
they had progressed to the use of glaze in the peculiarly Egyptian 
manner. They had even acquired the art of working metal, both 
copper and gold objects having been found, but as has been said 
most of their implements and weapons were of finely worked flints, 
or rather chert. On their painted pottery we find a type of ship dis- 
tinctly foreshadowing those of the historic period, with what are 
believed to be tribal standards, corresponding in a marked degree 
with later objects of the same class. 

By the latter part of the period the country had been divided 
into the North and South Kingdoms, the union of which, under 
Menes, marks the beginning of the Dynastic era, about 3400 B.C. 
The Pharaohs thereafter wore a double crown, known as the 
"pshent", and bore the title of King of Upper and Lower Egypt. 

199 



THE CLEVELAND MUSEUM 

The chronology of the earlier dynasties is still a matter of dis- 
cussion, Prof. Flinders Petrie placing the beginning of the early 
Dynastic era more than two thousand years earlier than Breasted, 
whose more conservative estimate is now generally accepted, at 
any rate, by American Egyptologists. 

That a very high pitch of culture must have obtained in 
the Predynastic period, is evident from the rapid rise of the arts 
under the early dynasties. It is notable that the characteristic stone 
vessels are made of harder materials, and with greater skill in the 
Predynastic period than at any later time. 

With the III Dynasty, about 2980 B.C., the period known as 
the Old Kingdom begins. It is also called the Pyramid age, since 
it was at this time that those colossal monuments were erected. 

During the IV and V Dynasties 2900-2625 B.C., Egyptian cul- 
ture reached its climax. The arts were perfected to a degree which 
was seldom, if ever, surpassed in later times. By 2475 B.C. the 
power of the Kingdom had been subverted by the increase of in- 
dependence of the provincial governors, and a period of about three 
hundred years of disorganization followed, known as the Inter- 
mediate, about 2475 to 2150 B.C. We have names of kings and 
dynasties, but no historical evidence of their accuracy, and no 
works of art to show the state of civilization until quite towards 
the end of the period. 

About 2160 the Theban overlord, Antef, founded the XI 
Dynasty, and with it the era known as that of the Middle Kingdom, 
but it was not until Amenemhat, the first king of the XII Dynasty, 
about 2000 B.C., moved the capital northward to a place near 
Memphis, that the Middle Kingdom was firmly established, and 
Egypt entered on one of the most prosperous periods of its history. 
Engineering took great strides, and by a system of canals, the 
annual rise of the Nile was controlled, to the great benefit of agri- 
culture. The arts of this flourishing dynasty bear witness to the 
general prosperity, but curiously enough, notwithstanding one or 
two sporadic but ephemeral attempts at progress in the preceding 
dark ages, the artists of the Middle Kingdom deliberately reverted 
to archaism, and adhered with the utmost pains to Old Kingdom 
models. 

Nevertheless, technically their work was more highly finished 
than that of the earlier men. In certain departments, jewelry for 
instance, nothing before or since, in Egypt, equals the beauty of 
that made at this time. Another period of darkness covered by the 

200 



ANCIENT EGYPTIAN ART 

XIII to the XVII Dynasties, 1788-1588 B.C., intervened. In the 
XVII, particularly under Senusert I, the great Sesostris of Greek 
legend, the Egyptians had for the first time carried their arms 
beyond their own frontiers, both into Nubia and Syria; as a not 
unnatural consequence, she was invaded in her turn, and from 
about 1700 Egypt was subjected to the ahen rule of the Hyksos 
Kings, whose identity is still uncertain. 

In 1580 B.C. Ahmes of Thebes succeeded in throwing off the 
foreign yoke, and founded the next great Dynasty, the XVIII, and 
with it, the Empire, as it is justly called, for during this time Egypt 
became a power in the Eastern world, extending her conquests far 
to the South up the Nile, through Syria, perhaps to the Taurus 
mountains, over a great part of the Eastern Mediterranean, and as 
far East as to the Euphrates, where she came into conflict with the 
Kings of Babylon. The greatest king of this dynasty, Thothmes 
III, was famous throughout the ancient world as a conqueror. 

One result of these foreign wars was an enormous increase in 
the intercourse and trade with other lands; nevertheless, Egypt re- 
mained a closed land, and her arts reflect little foreign influence. 
Once more she turned in upon herself, and the arts of the XVIII 
Dynasty so closely reflect those of the XII, that it is occasionally 
difiicult, even for authorities, to decide to which of the two periods 
a work of art belongs. Wealth, however, became greater, and the 
major portion of the spoils naturally enough fell to the King's 
share, so that the monuments became larger and more magnificent 
than ever before. Thebes was once again the capital, and the great 
temples of Luxor and Karnak bear witness to the splendor of the 
kings of the XVIII Dynasty, and not only to the power of the 
monarchs, but to that of the priesthood, whom they fostered, and 
to whom at length they became almost as subject as the mediaeval 
emperors were to the Papacy. 

A reaction took place when Amenhotep IV founded a mono- 
theistic religion, and abandoned Thebes for a new capital which he 
built at Tel-el-Amarna, where have been found some of the most 
beautiful and original of all Egyptian works of art. This led to the 
downfall of the Dynasty, and indeed of the bulk of the Empire. 
Weakened by internal discord, it crumbled before the revolt of one 
province after another, and the raids of surrounding tribes, and al- 
though the last King submitted to the outraged priesthood of 
Amon, who finally placed their own nominee on the throne, the 
glorious XVIII Dynasty came to an end in 13 15 B.C. 

aoi 



THE CLEVELAND MUSEUM 

The XIX Dynasty, the Ramessid, opened somewhat more 
prosperously, and the third King Rameses II, succeeded in re- 
covering Phoenicia, parts of Syria, and Mesopotamia, but was pre- 
vented from further conquest by the rising power of the Hittites in 
Asia Minor. Foreigners now began to settle in the land, and the 
people were priest-ridden. Finally a High Priest of Amon, Herhon, 
seized the throne in Thebes, and the XXI Dynasty was one of 
Priest-Kings. The art of the end of the XVIII and of the Dynasties 
immediately following, was to some extent, for the first time, affected 
by that of foreign countries, with the result shown in the dis- 
coveries at Tel-el-Amarna, just mentioned, although the natural- 
istic tendency, and the foreign influence, have made themselves 
felt in the previous reign. Settlers from Lybia and Ethiopia had in- 
creased in numbers until in the XXII to the XXV Dynasties, 945- 
663 B.C., they were able to make themselves Pharaohs. 

The XXVI saw a restoration of Egyptian monarchs, and is 
known as the Saite Dynasty, from their capital city, Sais. 

The Greek states now becoming powerful sent both mer- 
cenaries to serve in the Egyptian army and merchants to sell 
Greek wares, yet once again we find the truly Egyptian phenom- 
enon of a revival of art and learning driving her people back into 
the past; Saite art is as archaistic as was that of the XII and XVIII 
Dynasties. Under the XXVII, however, Egypt finally lost her 
freedom. The Persians under Cambyses conquered the land in 525 
B.C., and though a partial emancipation was effected during the 
XXVIII Dynasty, it was again forever obliterated by Alexander 
in 332 B.C. His general, Ptolemy, became the ruler, when Alex- 
ander's empire was divided at his death, and his successors reigned 
until 30 B.C., when Julius Caesar made Egypt a Roman province. 
A certain amount of Greek influence made itself increasingly felt 
in the arts, but it was not until the Roman period that it became 
in any sense dominant. Even at that time the religious side of art 
remained strongly Egyptian and with the cult of Isis much work 
with this marked character was exported to Rome where it is fre- 
quently excavated at the present day. 



202 



ANCIENT EGYPTIAN ART 



Old Kingdom 

Intermediate 
Period 

Middle Kingdom 

Hyksos 

The Empire 



DATES OF THE EGYPTIAN DYNASTIES 

Based upon the chronology of Prof. J. H. Breasted. 

Pre-Dynastic Period 4000-3400 

Accession of Menes and Begin- 
ning of Dynasties 3400 

I and II Dynasties 3400-2980 

III Dynasty 2980-2900 

IV Dynasty 2900-2750 

V Dynasty 2750-2625 

VI Dynasty 2625-2475 

fVII and VIII Dynasties 2475-2445 

I IX and X Dynasties 2445-2160 

XI Dynasty 2160-2000 

XII Dynasty 2000-1788 

XIII-XVII Dynasties 1788-1580 

XVIII Dynasty 1580-1315 

XIX Dynasty 13 15-1205 
Interim 1 205-1200 

XX Dynasty 1200- 1090 

XXI Dynasty 1090- 945 

XXII Dynasty 945- 745 

XXIII Dynasty 745- 718 

XXIV Dynasty 718- 712 

XXV Dynasty 712- 663 

XXVI Dynasty 663- 525 
Persian Conquest of Egypt 525 

XXVII and XXVIII Dynasties 525- 338 

XXIX Dynasty 398- 379 

XXX Dynasty 378- 341 
Ptolemaic Period 332- 
Roman Period 30 B.C.- 
Byzantine Period 364- 
Arab Conquest of Egypt 



B.C. 



Saite Period 



30 
364 
640 
640 



A.D. 



203 



THE CLEVELAND MUSEUM 

1 PORTRAIT HEAD. 

Granite. The Urasus, or Sacred Serpent, on the brow de- 
notes a royal personage. 

The John Huntington Collection. 

2 STELE. 

Stone. 

The John Huntington Collection. 

3 SCULPTURAL FRAGMENT. 

Face in low relief. 

The John Huntington Collection. 

4 CANOPIC JARS. 

and Limestone. 

5 "Canopic" jars, as they are called, through a misunder- 
standing on the part of the early Egyptologists, are a 
kind of subsidiary coffins, since they were for the pur- 
pose of containing the vital organs which were removed 
before mummification and preserved separately. They 
were always four in number, dedicated to the four 
sons of Horus, Amset, Hapi, Duamutef and Kebehsenuf, 
under whose protection different portions of the viscera 
were placed. From the XIX Dynasty on the heads of the 
four gods were placed on the covers of the jars. These two 
bear the human head of Amset. 

The John Huntington Collection. 

6 SCULPTURED FRAGMENT. 

From an interior wall. Limestone head cut in low relief. 
The John Huntington Collection. 

7 BOX FOR TWO CANOPIC JARS. 

The John Huntington Collection. 

8 FUNERARY BOAT. 

Bearing figures and objects necessary for the journey of 
the deceased to the other world. 

Wooden models of houses, boats with their crews, serv- 
ants busy with domestic work, etc., were placed in the 
tombs as early as the XI Dynasty to ensure to the de- 
ceased a continuance of the activities of his past life in 
that to come. 

The John Huntington Collection. 

204 



ANCIENT EGYPTIAN ART 

9 SCRIBE'S PALETTE. 

Wood with holes for color, and covered receptacle for reed 
brushes. Incised with scales and measures. 

Said to be from Kitekas. 

The John Huntington Collection. 

10 PAINTER'S PALETTE. 

Wood. With colors still remaining in circular depressions. 
The John Huntington Collection. 

11 BOW. 

Wood. Probably ceremonial. Has been broken in halves as 
a religious rite at the funeral. 

The John Huntington Collection. 

12 ARROW SHAFTS. 

Wood. 

The John Huntington Collection. 

13 FUNERARY MODEL OF A STOOL. 

The John Huntington Collection. 

14 CYLINDRICAL POT. 

Bronze or copper; gilt. 

The John Huntington Collection. 

15 BOWL. 

Bronze or copper. Colored red and gilt. Rounded bottom, 
flaring mouth. These vessels were hammered, not cast 
nor spun. 

The John Huntington Collection. 

16 STATUETTE. 

Bronze. The god Ptah holding the whip, staff and scepter. 
Bronze statuettes were in earlier times cast hollow by the 
cire-perdue process; as the art declined they were cast solid. 
The John Huntington Collection. 

17 FISH. 

Bronze. 

The John Huntington Collection. 

18 STATUETTE. 

Bronze. Seated figure. 

The John Huntington Collection. 

205 



THE CLEVELAND MUSEUM 

19 STATUETTE. 

Bronze; gilt. Seated figure. 

The John Huntington Collection. 

20 STATUETTE. 

Basalt. Standing figure holding whip in each hand. In- 
scription down the front of skirt and around the lower part. 
The John Huntington Collection. 

21 FUNERARY STATUETTE. 

Wood. Draped figure. 

The John Huntington Collection. 

22 STATUETTE. 

Wood. Funerary figure of a woman. 
The John Huntington Collection. 

23 STATUETTE. 

Wood. Funerary figure of a servant, carrying a duck, 
with a square basket on her head. 
The John Huntington Collection. 

24 STATUETTE. 

Wood. Black-haired funerary figure. Red face, and whitish 
body representing his clothing. 
The John Huntington Collection. 

25 VOTIVE CAT. 

Wood. Sacred to the god Pasht or Bast. 
The John Huntington Collection. 

26 FISH. 

Bronze. 

The John Huntington Collection. 

27 SCULPTURAL FRAGMENT. 

Hand and feathers. Part of the garment of a goddess. 
The John Huntington Collection. 

28 SCULPTURAL FRAGMENT. 

Bust of a female figure. On the reverse the snout of an 
animal. 

The John Huntington Collection. 

29 STATUETTE. 

Wood. Funerary figure of a woman; arms missing. Traces 
of white. 

The John Huntington Collection. 
206 



ANCIENT EGYPTIAN ART 

30 STATUETTE. 

Wood. Funerary figure of a man. 
The John Huntington Collection. 

31 HATHOR-HEADED CAPITAL. 

Limestone. Perhaps a sculptor's model or the work of a 
student. 

Saite or Ptolemaic. 

The John Huntington Collection. 

32 USHABTI BOX. 

Containing seventy-one whole and many broken Ushabtiu. 
The John Huntington Collection. 

USHABTIU. 

33 USHABTI. 

Glazed frit. Bright blue, with black markings and in- 
scription down the front. 

Ushabti (pi. Ushabtiu), meaning "answerers" to 'the bid- 
ding of the deceased, was the name given to figures placed 
in the tombs, often in great numbers, to do for him such 
services as should be imposed upon him by the gods of the 
underworld. As might be expected, they have been found 
in greater numbers than almost any other product of that 
ancient civilization, beads alone excepted. Examples exist 
in stone, bronze, wood, clay, glazed pottery, wax, etc. 
The fashion of making them of Faience seems to have 
sprung up in the XIX Dynasty. The Ramesside Ushabtiu 
were usually green with black inscriptions; more rarely 
with white. In the XXI Dynasty they were of an intense 
blue with purple-black inscriptions, and very roughly 
made. They deteriorated throughout this dynasty. In the 
XXII and XXIII Dynasties they were small, and usually 
green with black inscriptions. In the XXV they were red 
pottery merely dipped in a blue wash, or even of mud. 
Under the XXVI Dynasty a new type appeared — large, 
beautifully modeled figures, some as much as ten inches 
high, with incised inscriptions, black pillars and beards; 
always green glazed. These deteriorated down to Ptole- 
maic times, though there was a brief interval under Nec- 
tanebo of the XXX Dynasty, when some fine brilliant 
blue ones with inscriptions were made. Those made of 
other materials seem to have been used contempora- 

207 



THE CLEVELAND MUSEUM 

neously with the glazed ones, although there are a few of 
stone in the British Museum, of the VI Dynasty, the XI 
and XII. There are several of wood, and a good one of 
limestone, in our collection. 

The John Huntington Collection. 

34USHABTI. 

Glazed frit. Greenish glaze with reddish markings and in- 
scription down the front. 

The John Huntington Collection. 

35USHABTI. 

Glazed frit. Light blue, with incised inscriptions round 
body and on the back. 

The John Huntington Collection. 

36 USHABTI. 

Glazed frit. Blue, with purple markings. 
The John Huntington Collection. 

37 USHABTI. 

Glazed frit. Cream-colored glaze with brownish markings 
and inscriptions round body. Reddish glaze on hands and 
face. 

The John Huntington Collection. 

38 USHABTI. 

Glazed frit. Whitish, with purple markings and inscrip- 
tions down the front. Reddish glaze on hands, feet and 
face. 

The John Huntington Collection. 

39 USHABTI. 

Glazed frit. Cream-colored glaze with brownish markings 
and inscriptions round body. Reddish glaze on hands 
and face. 

The John Huntington Collection. 

40 USHABTI. 

Pottery. Unglazed, with traces of inscription down the 
front and covered with white. No feet. 
The John Huntington Collection. 

ao8 



ANCIENT EGYPTIAN ART 

41 USHABTI. 



JSHABTI. 

Pottery. Unglazed and colored red, black and white. 
Traces of inscriptions down the front, and of wrappings. 
Said to be from the Monkey Tomb. 

Thf Tnhn T-Tiint-incrfnn CnWprtinn 



aid to be rrom the Monkey lomb 
The John Huntington Collection 



42 USHABTI. 

Pottery. Unglazed and colored red, yellow, black and 
white. Crowned figure with whip and sceptre. Said to be 
from the Monkey Tomb. 

The John Huntington Collection. 

43 MOULDS. 

Stone. For an ushabti and a bird amulet. 
The John Huntington Collection. 

44 LION HEAD. 

Granite. 

Lent by M. Paul Mallon. 

45 DISH. 

Alabaster. 

Even in pre-Dynastic times the Egyptians made these 
vessels, and those of that date and of the earlier dynasties 
are the finest in execution and are made of the hardest 
materials. They were cut entirely by hand and not turned 
on a lathe. By the XII Dynasty nothing but the soft and 
easily worked alabaster was used, with very rare ex- 
ceptions. 

The John Huntington Collection. 

46 BOWL. 

Alabaster. 

The John Huntington Collection. 

47 OBJECT OF UNCERTAIN USE. 

Alabaster. Possibly for pressing the fine plaits of linen 
garments. 

The John Huntington Collection. 

48 BOWL. 

Green slate. 

The John Huntington Collection. 

209 



THE CLEVELAND MUSEUM 

49 BOWL. 

Alabaster. 

The John Huntington Collection. 

50 BOWL. 

Diorite. 

The John Huntington Collection. 

51 VASE. 

Alabaster. 

The John Huntington Collection. 

52 VASE WITH COVER. 

Alabaster. 

The John Huntington Collection. 

53 BOWL. 

Alabaster. 

The John Huntington Collection. 

54 VASE. 

Alabaster. 

The John Huntington Collection. 

55 BOWL. 

Diorite. 
The John Huntington Collection. 

56 KOHL POT. 

Alabaster. 

The John Huntington Collection. 

57 BOWL. 

Alabaster. 

The John Huntington Collection. 

58 LIBATION TABLE. 

Granite, on which are sculptured offerings of meat and 
drink. 

These tables were placed in the vestibules of the tombs 
before the false door and libation offerings were poured 
on them. 

The John Huntington Collection. 

59 PALETTE. 

Slate. In form of a fish. 
The John Huntington Collection. 
210 



ANCIENT EGYPTIAN ART 

60 BOWL. 

Alabaster. 

The John Huntington Collection. 

61 JAR-SHAPED VASE. 

Limestone. 

The John Huntington Collection. 

62 JAR. 

Alabaster. 

The John Huntington Collection. 

63 BOWL. 

Diorite. 

The John Huntington Collection. 

64 BOWL. 

Limestone. 

The John Huntington Collection. 

65 VASE. 

Alabaster. Elongated diamond design incised on the sur- 
face in double lines. 

The John Huntington Collection. 

66 BOWL. 

Diorite. 

The John Huntington Collection. 

67 BOWL. 

Diorite. 
The John Huntington Collection. 

68 BOWL. 

Green slate. 

The John Huntington Collection. ' 

69 DISH. 

Alabaster. In shape of a clam shell. 
The John Huntington Collection. 

70 PILLOW. 

Alabaster. Inscription on plinth. 
The John Huntington Collection. 

an 



THE CLEVELAND MUSEUM 

71 PITCHER WITH COVER. 

Alabaster. 

The John Huntington Collection. 

72 RUBBING STONE AND PESTLE. 

Basalt. To be held in the hand while grinding color. 
The John Huntington Collection. 

73 KOHL POT. 

Alabaster. 

The John Huntington Collection. 

74 BOWL. 

Alabaster. 

The John Huntington Collection. 

75 JAR. . 

Diorite. 
The John Huntington Collection. 

76 KOHL POT. 

Diorite. 
The John Huntington Collection. 

77 FUNERARY TABLE. 

Diorite. 

The John Huntington Collection. 

78 BOWL. 

Diorite. 

The John Huntington Collection. 

79 BOWL. 

Silica. 

The John Huntington Collection. 

80 SCULPTURAL FRAGMENT. 

Limestone. Bas-relief. Two female figures playing musical 
instruments; between them a tripod stand. 
The John Huntington Collection. 

81 STATUETTE. 

Gold. The god Chnemu. Ram-headed. 
Gift of Mr. and Mrs. J. H. Wade. 

212 



ANCIENT EGYPTIAN ART 

82 HEAD. 

Basalt. The sacred Uraeus denotes a royal personage. 
Lent by Mrs. Chauncey J. Blair. 

83 PORTRAIT BUST. 

Granite. Head and shoulders of a man, with inscription 
down the back. 

The John Huntington Collection. 

84 PORTRAIT STATUETTE. 

Stone. Seated figure, with inscription down the front. 
The John Huntington Collection. 

85 SHALLOW PLATE. 

Alabaster. 

The John Huntington Collection. 

86 BOWL. 

Alabaster. 

The John Huntington Collection. 

87 MUMMY CASE AND COVER OR INNER COFFIN. 

Painted within and without with hieroglyphics and scenes 
referring to the fate of the deceased in the next world. 
Probably of late period. 

The John Huntington Collection. 

88 LINTEL. 

From the false door of a tomb, through which the occu- 
pant was supposed to pass in and out. 

From Thebes. 

The John Huntington Collection. 

89 COFFIN. 

Rectangular. Painted with hieroglyphics. 
Perhaps XI or XII Dynasty. 
The John Huntington Collection. 

90 FIGURE OF PTAH-SEKER-AUSAR. 

Wood. 

This god was supposed to be especially connected with 
the Resurrection. The figures or their pedestals were fre- 
quently hollow and contained papyri of prayers and chap- 
ters from the Book of the Dead. 

The John Huntington Collection. 

213 



THE CLEVELAND MUSEUM 

91 MUMMY CASE AND COVER, OR INNER COFFIN. 

Painted within and without with hieroglyphics and scenes 
referring to the fate of the deceased in the next world. 
Probably of late period. 

The John Huntington Collection. 

92 FOUR CANOPIC JARS. 

93 Pottery, unglazed. Painted in black with hieroglyphics 

94 and drawings of the funeral gods. Two of them have the 

95 jackal of Duamutef on the covers. 

After XXI Dynasty. 570 B.C. 
The John Huntington Collection. 

96 JAR. 

Pottery. Unglazed. Handles and heavy wheel-marks 
around the body. 

Probably Roman Period. 

The John Huntington Collection. 

97 JAR. 

Pottery. Unglazed. Decorated with conventional design 
in red round shoulder. Flattened base. Pierced bosses for 
handles. 

Late Pre-Dynastic. 

The John Huntington Collection. 

98 FUNERARY VESSEL. 

Pottery. Grey ware. Pointed bottom, bulbous body and 
small neck. 

XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

99 VASE. 

Pottery. Red ware. Ovoid form, of smooth, uniformly 
colored clay. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

100 JAR. 

Pottery. Unglazed. Decorated with hnes of black, red and 
blue color, and a face in relief on the neck. 

Ptolemaic or Roman. 

The John Huntington Collection. 

214 



ANCIENT EGYPTIAN ART 

loi FUNERARY VESSEL. 

Pottery. Red ware. Ovoid shape. 
From Harageh. XII Dynasty. 
Gift of the British School of Archaeology in Egypt. 

1 02 FUNERARY VESSEL. 

Pottery. Buff ware. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

103 FUNERARY VESSEL. 

Pottery. Red ware. Pointed ovoid shape. 

XI Dynasty. 

Gift of the British School of Archaeology in Egypt. 

104 FUNERARY VESSEL. 

Pottery. From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

105 FUNERARY VESSEL. 

Pottery. Red ware. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

106 FUNERARY VESSEL. 

Pottery. Red ware. Gourd-shaped. 
From Harageh. XII Dynasty. 
Gift of the British School of Archaeology in Egypt. 

107 FUNERARY VESSEL. 

Pottery. Red ware. Club-shaped. 

XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

108 FUNERARY VESSEL. 

Pottery. Red ware. Saucer. Flaring sides with unevenly 
turned edge. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

109 FUNERARY VESSEL. 

Pottery. Red ware. Handles on shoulders. 
After the XIX Dynasty [?] 
Gift of the British School of Archaeology in Egypt. 

215 



THE CLEVELAND MUSEUM 

I lo FUNERARY VESSEL. 

Pottery. Pitcher. Decorated with black stripes tapering 
toward the bottom. 

XIII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

111 FUNERARY VESSEL. 

Pottery. Red ware. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

112 FUNERARY VESSEL. 

Pottery. Red ware. 
XIII Dynasty. 
Gift of the British School of Archaeology in Egypt. 

113 JAR. 

Pottery. Unglazed. Decorated in red with conventional- 
ized palm trees, boats and tribal standards. 

From Harageh. Late Pre-Dynastic period. 

Gift of the British School of Archaeology in Egypt. 

114 POTTERY. 

Polished red ware, in form of leather bag. 
The John Huntington Collection. 

1 15 BOX AND COVER. 

Glazed frit. Green-blue, decorated with fine drawings 
of flying birds and reeds in brown. 

This peculiarly Egyptian process was known in prehis- 
toric times, and was used in the earliest days of the mon- 
archy, even for architectural purposes; walls were faced 
with large tiles of it. In the XVlII Dynasty it reached its 
most brilliant development. The body of the ware is a 
finely ground silica, held together by the glaze on its sur- 
face. 

The John Huntington Collection. 

116 BOWL. 

Glazed frit. Green-blue. Decorated with fine drawings of 
birds and reeds in brown. 

The John Huntington Collection. 

216 



ANCIENT EGYPTIAN ART 

117 FRAGMENT. 

Glazed frit. Greenish. Border of tet, staff and ankh design. 
The John Huntington Collection. 

118 DISC. 

Glazed frit. Blue, with purple markings. Unglazed bottom. 
The John Huntington Collection. 

119 FRAGMENTS. 

Glazed frit. Light green. The capital of a small column. 
The John Huntington Collection. 

120 DISC. 

Glazed frit. Green. Stamped on both sides with ornament. 
The John Huntington Collection. 

121 VASE. 

Glazed frit. Pomegranate-shaped; green-blue. 
The John Huntington Collection. 

122 VASE. 

Glass. Milky white; black ribbed lip. 
XVIII Dynasty. 
The John Huntington Collection. 

123 BOTTLE. 

Glass. Grey ground. Yellow and white decoration. 
Glass of this type was made in Egypt from 1500 B.C. un- 
til the invention of glass blowing in the II and I Cen- 
turies B.C. 

XVIII Dynasty. 

The John Huntington Collection. 

124 VASE. 

Glass. In shape of pilgrim bottle. Grey-blue body with 
yellow bands: black and white lip. 

XVIII Dynasty. 

The John Huntington Collection. 

217 



THE CLEVELAND MUSEUM 

125 PITCHER. 

Glass. Blue. 

The John Huntington Collection. 

126 MASK, OR HEAD COVERING. 

Linen, covered with composition in the likeness of the 
deceased man. Stone eyes with flint pupils. From the 
mummy in Coffin No. 89. 

The John Huntington Collection. 

127 FRAGMENT OF WOOLEN TAPESTRY. 

The design in purple of three small animals chasing three 
birds in a rectangle has been completed with the needle 
and linen thread. 

Coptic. V-VI Centuries A.D. 

The John Huntington Collection. 

128 FRAGMENT OF A CIRCULAR MEDALLION OF 
WOOLEN TAPESTRY. 

So much torn and patched together that the subject is 
unintelligible. A haloed figure wrapped in grave clothes is 
all that can be certainly made out. Perhaps "A Resurrec- 
tion." The border is of marked "Sassanian" character. 
Polychrome on dull crimson ground; very fine weaving. 

Coptic. VI-VII Centuries A.D. 

The John Huntington Collection. 

129 FRAGMENT OF WOOLEN TAPESTRY. 

Borders. 

Coptic. VI-VII Centuries A.D. 
The John Huntington Collection. 

130 FRAGMENT OF TAPESTRY. 

Red ground, black border, design in black, roughly sug- 
gesting a human mask. Worn threadbare. 

Coptic. 

The John Huntington Collection. 

131 FRAGMENT OF TAPESTRY. 

Red ground, black border and design in yellow and green, 
roughly suggesting a stepped pyramid, four times re- 
peated. Mounted on linen. 

Coptic. 

The John Huntington Collection. 

218 



ANCIENT EGYPTIAN ART 

132 FRAGMENT OF TAPESTRY. 

Design in circles, showing Sassanian influence. Interesting 
piece. 

Coptic. 

The John Huntington Collection. 

133 FRAGMENT OF WOOLEN TAPESTRY. 

Three nude human figures in an arch-shaped space sur- 
rounded by conventional ornament. Crimson, green and 
white on a dull red ground. An upper border has been 
added with the needle. 

Coptic. VI-VII Centuries A.D. 

The John Huntington Collection. 

134 FRAGMENT OF TAPESTRY. 

Coptic. 

The John Huntington Collection. 

135 CIRCULAR MEDALLION OF WOOLEN TAPESTRY. 

Characteristic conventional pattern in white on crimson 
ground. 

Coptic. VI-VII Centuries A.D. 

The John Huntington Collection. 

136 FRAGMENT OF WOOLEN GARMENT WITH A TAP- 
ESTRY MEDALLION INSERT. 

The design, in purple and brown, of three lions passant 
has been completed with the needle, linen thread being 
used as well as wool. 

Coptic. V-VI Centuries A.D. 

The John Huntington Collection. 

137 FRAGMENT OF LINEN. 

With woolen Tapestry slips. Two of green, with red lobed 
ornaments between which is a row of small birds, in white, 
black, red, blue and green. 

Coptic. VTVII Centuries A.D. 

The John Huntington Collection. 

138 MEDALLION OF WOOLEN TAPESTRY. 

A figure on horseback very crudely represented in white 
and black-purple on a crimson ground. Coarse weaving. 

Coptic. VI-VII Centuries A.D. 

The John Huntington Collection. 

219 



THE CLEVELAND MUSEUM 

139 FRAGMENT OF A LINEN GARMENT. 

With a medallion of linen tapestry. The design shows 
probably one corner of the completed medallion, con- 
taining a figure of an Eros and part of a lion passant 
among vine leaves. All in dark purple. 

Coptic. V-VI Centuries A.D. 

The John Huntington Collection. 

140 FRAGMENT OF WOOLEN TAPESTRY. 

Design, a broad and narrow band of black between which 
is a band of conventional ornament. The field seems to be 
covered with crude animal forms in black outline. Very 
finely woven. 

Coptic. V-VI Centuries A.D. 

The John Huntington Collection. 

141 FRAGMENT OF WOOLEN TAPESTRY. 

Square, bordered with rinceaux among which are sport- 
ing animals. In the centre are two horsemen chasing lions. 

Coptic. V-VI Centuries A.D. 

Lent by Mrs. Chauncey J. Blair. 

142 FRAGMENT OF WOOLEN TAPESTRY. 

The collar of a garment. Design of Erotes playing with 
jars and baskets. Polychrome on a dull crimson ground. 

Coptic. VI-VII Centuries A.D. 

Lent by Mrs. Chauncey J. Blair. 

143 FRAGMENT OF WOOLEN TAPESTRY. 

Strip from a tunic. Figures and animals. Polychrome on a 
crimson ground. Crude work. 

Coptic. VI-VII Centuries A.D. 

Lent by Mrs. Chauncey J. Blair. 

144 FRAGMENT OF WOOLEN TAPESTRY. 

Half of a circle bordered with palmettes. Design of two 
haloed horsemen (perhaps the Dioscuri) afFrontes on each 
side of a tree. Sassanian influence. Polychrome on a crim- 
son ground. 

Coptic. 

Gift of Mr. and Mrs. J. H. Wade. 

220 



ANCIENT EGYPTIAN ART 

145 CARTONNAGE. 

In the Ptolemaic period the inner coffin was replaced by a 
cartonnage, which fitted closely over the mummy, and 
was laced up the back. 

Ptolemaic Period. 332-30 B.C. 

The John Huntington Collection. 

146 LEATHER OBJECTS OF UNKNOWN USE. 

Dyed red leather, in which are inserted pieces of white 
stamped with figures and hieroglyphics. 
The John Huntington Collection. 

SCARABS 

are figures of a beetle, Scarabseus Sacer, whose habit in burying its 
eggs led the ancient Egyptians to adopt it as a symbol of resurrec- 
tion and new birth. 

The scarab was used for three purposes: first, funeral; second, 
those worn for ornament; third, for historic purposes. These 
scarabs were carved and inscribed for the record of memorable 
events. This last class, however, appears to contain but four known 
specimens, so need not detain us. 

Those for funeral purposes measure as a rule from one-half to 
two inches in length, and are usually made of faience or steatite, 
glazed, or of semi-precious stones, and in the Roman period of glass 
also. They were set in rings on the hands of the dead, or placed 
among the wrappings of the mummy. The inscriptions on funeral 
scarabs usually consist of the thirteenth chapter of the Book of the 
Dead. Those made of green basalt were specially made to be laid 
on the breast of the mummy and were often set in gold. In later 
times blue and green faience was used for this class of scarab, and 
they were inserted in a pectoral of the same material. There are 
two of these in the collection. 

Thousands of the scarabs were made for the wear as ornaments 
by the living. They differ from the funeral type chiefly in the de- 
vices and inscriptions engraved on them. By far the greater number 
of inscriptions on scarabs consist of the names of kings, but it is 
well known that for some unknown reason scarabs with certain 
kings' names were worn a thousand years after the death of those 
monarchs. 

Very little is known about the localities or characteristics of 
the manufactories of scarabs, and hundreds exist which can neither 

221 



THE CLEVELAND MUSEUM 

be read, explained nor understood. However, the demand for these 
interesting antiques has, as in so many other cases, created a sup- 
ply, and for eighty years at least the production of forgeries has 
been a most profitable business. But then, of what class of antiques 
is this not true? 

PERSONAL ORNAMENTS 

Innumerable objects for the adornment of the person have 
been found in the tombs. Perhaps the greatest number of these con- 
sist of necklaces and their pendants, made of beads of every con- 
ceivable material — gold, silver, semi-precious stones, and, by far 
the most numerous, beads both of glass and glazed frit in brilliant 
colors. Ear-rings, too, were much worn. A pair of alabaster stud- 
shaped are in this collection, and others of gold and stones. Rings 
also were worn; in some of them scarabs were mounted, while oth- 
ers bore the owner's seal. Seals, unmounted in rings, were a neces- 
sity, as elsewhere in the east. Seven of these, of ivory engraved with 
pre-hieroglyphic signs are ascribed to the pre-Dynastic period. 



WAX 

Of great artistic merit are some small waxen masks modeled 
with much skill and a fine feeling for character. One or two of them 
are unmistakably portraits. Unfortunately they are only fragments. 
They are most likely of the same nature as the bronze masks, arms, 
legs, feet, etc., which are part of Funerary statuettes — the trunk 
being of another material — or may have been the original models 
for such bronzes, which from motives of sentiment were gilt and 
preserved, or from motives of economy or haste, were substituted 
for the more costly metal. They probably date from the XXI and 
XXII Dynasties. 

Seven little Ushabti-like figures are those of four "Sons of 
Horus" whose heads appear on Canopic Jars, q.v., as protectors 
of the vital organs. In the XXI and XXII Dynasties these figures 
were either placed in the cofiin or among the wrappings. There 
seems to be reason for believing that they were also occasionally 
placed inside the body when the viscera were removed. 

A delicately modeled little duck is probably the mould from 
which a bronze casting was to have been made. 

222 



ANCIENT EGYPTIAN ART 

AMULETS 

were in constant use from the earliest pre-Dynastic times, were 
worn by the Hving and buried with the dead in enormous numbers. 
In early times they were made of semi-precious stones, as well 
as glazed ware, gold, silver and steatite. In the XVIII and XX Dy- 
nasties, the new kingdom, from about 1600-1100 B.C. they were 
but little used, but the greater number of those in our collections 
come from the XXVI-XXX or Saite Dynasties. The most constant 
forms were figures of the gods and their sacred animals, or the sym- 
bols of life, strength, etc.; one of frequent occurrence is the Ut'at, 
or sacred eye of Ra the sun god. Examples of these in many 
materials are to be seen in the Museum collection. The figure of 
the sacred Hawk of Ra, holding the royal signet in its claws, prob- 
ably an amulet, is an interesting specimen of lead work. 

FLINT 

Flint was worked to the highest perfection in the prehistoric 
age, and continued in use until Roman times. The flints of the ear- 
liest period excel those of all other countries in the regularity of the 
flaking, the minute serration of the edges and the thinness of the 
implement; to-day the methods and skill required to produce such 
results are beyond our comprehension. As with the stone vases, 
the workmanship of the dynastic days is far inferior to that of the 
prehistoric knapper. Strictly speaking, the material is chert from 
beds of Eocene limestone. This is a harder substance than the flint 
which is found in chalk. 

147 KNIFE, OR SPEAR-HEAD. 

FHnt: 

Prehistoric. 

The John Huntington Collection. 

148 IMPLEMENT. 

Flint. Shaped like an arrow-head. 
Prehistoric. 
The John Huntington Collection. 

149 IMPLEMENT. 

Flint. Shaped like an arrow-head. 
Prehistoric. 
The John Huntington Collection. 

223 



THE CLEVELAND MUSEUM 

150 IMPLEMENT. 

Flint. Shaped like an arrow-head. 
The John Huntington Collection. 

151 AXE. 

Flint. Broken. 
From Harageh. 
Gift of the British School of Archaeology in Egypt. 

152 KNIVES. 
and Flint. 

153 From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

154 ARROW HEADS. 

Bronze. Of various periods. 
Egyptian. 
The John Huntington Collection. 

155 PAIR OF FEET FROM A STATUETTE. 

Bronze. 

The John Huntington Collection. 

156 SPHINX WITH HAWK OF RA BETWEEN FORE- 
PAWS. 

The John Huntington Collection. 

157 RECUMBENT COW. 

Bronze. 

The John Huntington Collection. 

158 DAGGER. 

Bronze. Handle inlaid with wood. 
Egyptian. 
The John Huntington Collection. 

159 GOLD TONGUE PLATE. 

From a mummy. 

Excavated at Harageh. Roman Period. 

Gift of the British School of Archaeology in Egypt. 

224 



ANCIENT EGYPTIAN ART 

1 60 HEAD OF A HAWK. 

Wood. Traces of red and white paint. Part of a statuetfe. 
Egyptian. 
The John Huntington Collection. 

161 HEAD OF A LION. 

Wood. Traces of color. 
Egyptian. 
The John Huntington Collection. 

162 STONE EYES. 

Pupils of black flint. 

From Harageh. XII Dynasty. 

Gift of the British School of Archaeology in Egypt. 

163 VOTIVE CAT. 

Bronze. Sacred to the god Pasht. 
Lent by Mr. Dikran G. Kelekian. 

164 BUST OF A KING. 

Quartz. 

Egyptian. XVIII Dynasty. 
Lent by Sig. A. Canessa. 



225 



COURT OF TAPESTRIES AND ARMOR 



EIGHT TAPESTRIES 
SUBJECT: THE STORY OF DIDO AND ^ENEAS 

Gift of Mrs. Dudley Peter Allen 

THE pedigree of these eight tapestries is unusually clear and 
well authenticated. Until they passed into the hands of Mr. 
Charles M, Ffoulke of Washington, D. C, they had remained 
since the day they were made in the possession of the Barberini 
family in Rome, in the very building in which they were woven in 
the XVII Century. They were purchased from Mr. Ffoulke by 
Mrs. Dudley P. Allen in 191 5, for presentation to this Museum, in 
memory of Dr. Dudley Peter Allen. 

Cardinal Francesco Barberini, Papal legate to the court of 
France in 1625, was so deeply impressed by the decorative value 
of the French tapestries that in 1630 he founded an atelier for the 
production of these works of art in the Barberini palace in his native 
city. Giovanni Francesco Romanelli was appointed designer of 
cartoons, and Jacques de la Riviere and M. Wauters, chefs d'atelier 
or master weavers. The former would seem from his name to be a 
Frenchman, although he may have been a Fleming. The latter was 
unquestionably a native of Flanders and was probably a scion of 
the family of the same name who had founded a factory of tapes- 
tries in Siena in 1438. The third tapestry of the series in the Mu- 
seum of Art is signed J. F. Romanellus, and seven of them M. 
Wavters or Wovters, and in one case M. W. There is therefore no 
doubt as to their authorship. A further piece of evidence may be 
found in an inventory of the tapestries owned on October 25, 1695, 
by Cardinal Carlo Barberini, Barberini MSS XLVIII pp. 72-77 
Vol. 141, still preserved in the Barberini Library: "Series woven 
in silk and wool representing the history of Dido and ^neas, de- 
signed by Romanellus — eight tapestries." 

Giovanni Francesco Romanelli was born at Viterbo in 1610 or 
1612. He was a pupil of Domenichino and Pietro da Cortona in 
Rome. A protege of the Barberini family, he painted frescoes in the 
Vatican for Pope Urban VIII, of that family. After the foundation 
of the atelier in the Barberini palace, he accompanied the Cardinal 
to France in 1648 where he painted some frescoes for Cardinal 

227 



THE CLEVELAND MUSEUM 

Mazarin. He returned to Italy in 1651 but was back again in Paris 
in 1659, where he painted frescoes in the lower portion of the Louvre 
for Louis XIV, also portraits of the King himself and of the Queen 
Mother. He died in his native city of Viterbo in 1662. 

It would seem that there is a duplicate set of these eight tapes- 
tries in the Imperial Austrian collection: George L. Hunter, Tapes- 
tries, pp. 305 and 306. 

The story recorded in them is to be found in the ^neid of 
Virgil, and may be briefly retold. 

yEneas, who was said to be the son of Venus by the Trojan 
Anchises, set sail for Italy with what perhaps was a numerous fleet, 
since after it had been scattered by a great storm, seven of his ves- 
sels were wrecked on the coast of Africa near Carthage, the city 
founded by Dido, a daughter of Agenor, King of Tyre. Dido, 
warned in a dream that her brother intended to destroy her in 
order to obtain her treasures, fled from Tyre to Africa. There she 
purchased from the King of Lybia as much land as a bull's hide 
would encompass. Cutting the hide into strips she enclosed with it 
enough ground on which to found the city of Carthage. 

The First Tapestry. The shipwrecked y^neas, with his friend, 
the faithful Achates, is confronted by a vision of his mother Venus 
disguised as a nymph of Diana, with bow and quiver. She tells her 
son where he is, and the story of Dido, points the way to the city 
and tells him, who does not recognize her, that he will find his son 
and friends and ships there. This advice he follows, declares himself 
to the Queen, and begs her protection, which she grants. He sends 
Achates to the ships to bring his son Ascanius to Carthage and with 
him Helen's veil, the sceptre and jewels of Ilione, the daughter of 
Priam, and other gifts he means to present to the Queen. She mean- 
while prepares a great feast in honour of her Trojan guests. This 
we see in 

The Second Tapestry, where ^neas offers thesegifts to Dido 
by the hand, as he thinks, of his son Ascanius. But Venus has 
caused Cupid to take on the shape of the Trojan prince, and seize 
the occasion to entrap the hearts of the Queen and her guest. In 
the background the preparations for the banquet are in progress. 

Dido, finding herself in love with ^neas, and loth to be faith- 
less to the memory of her first husband consults the oracles as to 
the course she should pursue. 

The Third Tapestry depicts her sacrifice to Juno, goddess of 
marriage and tutelary deity of Carthage, with this intent. 

228 



COURT OF TAPESTRIES AND ARMOR 

The Fourth Tapestry. In this the Queen consults the Trojan 
prince concerning the building of her city. In 

The Fifth Tapestry the story is again resumed. Overtaken by 
a sudden storm while hunting, Dido and Mneas seek shelter in a 
cave. Cupid and Hymen pursue them through the air, as if to 
symbolize the culmination of the drama. 

When, in response to Venus' prayers, Jove calmed the tempest 
which shipwrecked her son, she had promised the Father of Gods 
that yEneas should dally no longer at the court of Dido than 
would enable him to refit his shattered fleet and resume his voyage 
to Italy, where he was destined to found the city of Rome. But 
^neas was now in love, and oblivious of all else, so Jupiter at 
length wearying of his delay sent Mercury, his messenger, to warn 
him that he must at once remember his duty. 

The Sixth Tapestry illustrates this episode; the leisurely 
manner of life led by the Trojans at the Carthaginian court is sug- 
gested by the figures of Achates and a lady who lean against a 
balustrade in the background with an air of the most indolent 
tranquility. 

The Seventh Tapestry. The parting of Dido and^Eneas, pic- 
tures the fate-driven hero and the distracted Queen as he explains 
to her that Jove may not be disobeyed and that he must begone. 

The Eighth Tapestry shows the last scene of all. The Queen 
commanded a pyre to be built in the court of the palace, that she 
might burn on it the armor of the faithless Trojan and so efface 
him forever from her memory. This done, she flung herself upon 
it and buried his sword in her heart. According to the belief of the 
ancients the suicide could not depart and be at rest unless Proser- 
pine, the goddess of the underworld, severed a lock of hair from his 
head. As Dido lies in torment, Juno in pity sends Iris to perform 
this rite for her, while her sister and attendants bewail her untime- 
ly doom. Through an archway we see the fleet of ^neas putting 
out to sea. 

I INTERVIEW BETWEEN VENUS AND .ENEAS. 
Unsigned. 

Height, 13 feet, 6 inches; width, 10 feet, 8 inches. 
II CUPID IN THE GUISE OF ASCANIUS PRESENTING 

THE GIFTS OF .ENEAS TO DIDO. 
M 
Signed [Wovters.] 
, Height, 13 feet, 9 inches; width, 20 feet, 11 inches. 

229 



THE CLEVELAND MUSEUM 

III DIDO SACRIFICING TO JUNO. 

Signed [M. Wavters]. This tapestry also bears the signa- 
ture of J. F. Romanellus, the artist who painted the car- 
toons for the whole series. 

Height, 13 feet, 7 inches; width, 15 feet, i inch. 

IV DIDO SHOWING .ENEAS THE PLANS FOR THE 
FORTIFICATIONS OF CARTHAGE. 

Signed [M. W.] _ _ 

Height, 13 feet, 5 inches; width, 18 feet, 8 inches. 

V DIDO AND ^NEAS, PURSUED BY CUPID AND 
HYMEN, SEEKING SHELTER FROM THE STORM. 

Signed [M. Wavters.] 

Height, 13 feet, 8 inches; width, 13 feet, 9 inches. 

VI MERCURY NOTIFYING iENEAS THAT JUPITER 
COMMANDS HIM TO LEAVE CARTHAGE. 

Signed [M. Wavters.] 

Height, 13 feet, 3 inches; width, 11 feet, o inches. 

VII PARTING OF DIDO AND ^NEAS. 

Signed [M. Wavters.] 

Height, 13 feet, 3 inches; width, 13 feet, o inches. 

VIII DEATH OF DIDO. 

Signed [M. Wavters.] 

Height, 13 feet, 5 inches; width, 15 feet, 4 inches. 



230 



COURT OF TAPESTRIES AND ARMOR 

ARMS AND ARMOR 

Gift of Mr. and Mrs. John L. Severance. 

If we would seek the most beautiful examples of workmanship 
in hard metal we would unquestionably find them in arms and 
armor, notably those of Europe, of the Middle Ages and of the 
Renaissance. And we may long stand in admiration before cases in 
which are preserved princely helmets, richly embossed breastplates, 
fretted and chiselled sword-hilts, gun-barrels decorated with per- 
sonages and traceries, and daggers whose blades and hilts are mar- 
vels in execution. We recall, too, that the ancient armorer developed 
his art under very favorable conditions. On every hand he was 
recognized as an artist, and he awaited fame and fortune as confi- 
dently in the narrow street of an obscure town in Spain or Germany, 
as in world-famous Milan. No matter where his career began he had 
ever the chance to become a companion of kings and to live, without 
care and without thought of time, only to produce great works. 

So it came about that the armorer in those days expressed his 
ideas in steel very much in the way in which his fellow artists 
wrought with their more easily handled pigments, or marble, or 
bronze or clay. But his was a constant struggle with the difficult 
technical processes of his medium; and while a rival artist could 
produce a picture in a day, a week or a month, the armorer might 
spend a year in executing a single piece. Thus at his life's end a 
painter might count his works by the hundreds, but a great armorer 
could reckon his only by the scores. 

It is not surprising, therefore, that good examples of arms and 
armor are rare, and that on this account, partly, the art of their 
makers is little known and appreciated. 

The average visitor to the average museum has never seen 
beautiful armor, and if he has met with poor specimens he knows 
as little of the armorer's art as he would have known of painting 
or sculpture had he seen but poor pictures or poor statues. Even 
abroad he would gain but an imperfect knowledge of the interest 
and beauty of armor should he not visit certain national collections 
— as of Vienna, Madrid, Paris, Dresden, Turin, London and Petro- 
grad — for these preserve the treasures of royal houses and include 
perhaps as much as eight-tenths of all extant pieces of excellent 
quality. 

Good armor, it may safely be stated, was not common even in 
its day, for, as we noted, it was made by artists of especial skill and 

231 



THE CLEVELAND MUSEUM 

with laborious care; few people, relatively, could then afford to pur- 
chase it. And today, after the lapse of centuries, it has become su- 
premely rare. This follows naturally, first, from the perishable 
nature of the material of which it was made and, second, from 
the changes in style — that is, in the social economy which affected 
the use of arms. In the first respect we note that much beautiful 
armor literally rusted away. Even under favorable conditions steel 
will "corrupt", and if it does not receive skilled treatment it deter- 
iorates with alarming rapidity — its surface becomes roughened, its 
ornamentation disappears, and in a few years it becomes unsightly. 
Armor, if in bad order, soon lost its place of honor in castle or manor, 
and was stored with other neglected things. Its later fate was 
only too often to be broken up for the mere metal which it repre- 
sented. Under these conditions a large number of the beautiful arms 
of the Middle Ages and of the Renaissance disappeared. This, in 
fact, was the lot of nearly every piece of armor dating earlier than 
the year 1400. In later times we read of scores of suits of armor 
being forged into iron bars to be used in making a fence (Munich), 
of helmets being sold by weight to be forged into horse shoes, of a 
splendid shield being defaced to recover the small amount of gold 
with which its surface was enriched. In the second place social 
changes have played an important part in destroying beautiful 
armor. Improvements in the use of gunpowder caused armor to 
lose its value as a means of defense, while guns and pistols were 
supplanting swords, daggers and halberds. For why should the 
artist spend months creating a headpiece which a sudden shot 
would destroy, or a prince spend a fortune upon a suit of armor 
which he might wear but a single time? It was this change of view- 
point which soon swept away the art of the armorer. Thus each in- 
dividual and each community sought in its arms utility rather than 
beauty. Then, too, rapid changes in the kinds of equipment gave the 
finishing stroke to their makers' art. For by the time an arm could 
be fashioned richly the needed style might already have changed. 
Hence it happened that year by year the memory of princely arms 
faded away. And the view became widespread that the work of the 
armorer represented a low branch of an artist's profession. Few 
knew of the beautiful arms of early times, which appeared as often 
in the court as in the camp, when halberds were fretted, etched and 
damaskeened and then sword-hilts were sometimes "a prince's 
ransom" — when the greatest artists were pleased to design them — 
Durer, Michelangelo, Raphael, Lionardo, Titian, Gian Bologna, 

232 



COURT OF TAPESTRIES AND ARMOR 

Guilio Romano, Holbein, Peter Vischer, Donatello. Even a few 
years ago the Government of the United States would have decided 
that a casque designed by Cellini and executed for a king by a 
Negroli, was only "manufactured hardware", and dutiable accord- 
ingly. 

Today, however, the appreciation of the art of the armorer is 
far more just. We know that the real armorer was not an artisan 
but an artist whose creative efforts showed a skill in the handling 
of steel which can rarely, if at all, be paralleled to-day. For what is 
now accomplished by labor-saving devices was carried on during 
the middle ages entirely by free hand. Thus, in those times a helmet 
was not stamped or moulded into shape, as it is done to-day in the 
great munition factories in France or England, but was laboriously 
wrought out of a single ingot by tens of thousands of skilled blows, 
involving the delay of many times heating or annealing the metal. 
Thus the making of a high-combed helmet required the work of 
weeks, or even of more than a year if ornamentation in relief was 
to be added. Then, too, we know that these processes were elabor- 
ately progressive; the armorer added to his work one feature after 
another, and by the nature of his material he could not make a 
mistake and correct it, as many artists might have done when work- 
ing with another medium; a mistake in his case was usually fatal — 
his earlier and painful labor was lost and he had need to begin a 
new piece. It may safely be said that there are few to-day who ap- 
preciate the variety of technical difficulties which the maker of 
ancient armor encountered. This we may best understand who 
have seen a modern copyist try to reproduce such an object as 
the bowl of a helmet and find how fully this taxes both his hand and 
his judgment. A few hammer strokes may weaken the work at a 
critical place, or a desired contour may not be attained if at the 
beginning the metal was not spread or "pushed" from a certain 
point. Few copyists there are living who can accomplish a real ar- 
morer's task, and modern work has in it a hardness of line, or a 
lack of symmetry, or fails to keep the thickness of the metal at 
points which would naturally have been exposed. The armorer's 
great art is to-day nearly extinct. Its implements are things apart, 
and we have well-nigh lost the meaning of its curiously shaped 
hammers and "stakes" which their early owners sometimes covered 
with elaborate engraving or sculpturing. 

Until recently (1904, when the de Dino collection was exhibited 
in New York) beautiful armor and arms were not adequately shown 

^33 



THE CLEVELAND MUSEUM 

in any American Museum. Nor has as yet the armorer come into 
his own even in those of our cities where the making and using of 
steel has attained vast proportions. Thus in Pittsburg, center of 
the greatest steel industry of our country, if not of the world, there 
exists, so far as the writer knows, not a single example of the ar- 
morer's skill — though probably no where else in the world would 
this bring greater interest to metal workers of every degree, develop 
their interest in art, and ever serve as a fruitful source of in- 
spiration! 

Cleveland, on the other hand, is now able to exhibit an im- 
portant collection of these objects, thanks to the munificent bene- 
faction of Mr. and Mrs. John L. Severance. By this timely gift its 
civic museum, at its inauguration, is enabled to exhibit representa- 
tive objects of nearly all branches of the study of European arms 
and armor. This series comprises over five hundred objects, includ- 
ing 15 suits and half-suits of armor, 23 helmets, loi detached pieces, 
113 swords, 43 daggers, 77 pole arms, 25 maces, 7 guns, 12 pistols, 
10 shields, and several interesting cannon. Many of these objects, 
it may confidently be stated, would take a high rank in European 
national collections. They were selected with great care by their 
former owner, Mr. Frank Gair Macomber, the well-known Boston 
amateur, whose collecting activities in this field extended over 
thirty years, and whose numerous visits to England and the conti- 
nent gave rare opportunities to be present at sales and to be in 
close touch with the dealers in ancient arms. 

The greater number of the objects of the present collection date 
from the Sixteenth century, which is usually best represented in 
collections of European armor. Some of the specimens, however, 
date from earlier times, including some rare pieces of chain mail, 
several excellent swords of the Fifteenth century, and some pieces 
of "Gothic" armor of similar date. There are, also, numerous arms 
of the Seventeenth century and some casques and breastplates of 
the same period^ — when armor came finally to be discarded. 

In the matter of workmanship: The present objects represent 
some of the most distinguished artist-armorers. There are a breast- 
plate and a headpiece bearing the mark of proof of the great Milan- 
ese armorers of the Fifteenth century, the Missaglia (Nos. 27 and 385). 
Among other Italian armorers we may mention the name of Hierony- 
mus Spacinus, of Milan, to whom we attribute the beautiful shield 
(No. 132) closely decorated with delicate traceries and figures in 
damaskeen of different colors — easily one of the most valuable 

234 



COURT OF TAPESTRIES AND ARMOR 

pieces in the present collection. Still another famous Italian artist 
is Lucio Picinino, who, I believe, embossed the side-plate of a horse- 
armor (No. 534). Of the large "Pisan" school of armorers, dating 
roundly 1 570, there are numerous specimens whose plates are boldly 
etched in bands. Among their work we here include three bucklers 
and two suits of armor, e. g. (Nos. 553 and 155). German artists, 
whose fame was hardly second to the Italian, are represented in 
numerous pieces. Elements of a beautifully fluted armor, dating 
about 1525, are attributed to one of the Coloman family. A shield 
(No. 507), enriched with freely etched personages, is given to 
Peter von Speyer, or to one of his pupils. There is also an example 
of the etching of Peter Flotner (a headpiece. No. 142), who deco- 
rated many beautiful harnesses about 1550. The best example 
of typical German workmanship, however, is unquestionably the 
horse-frontal (No. 135), enriched with etching and gilding, which 
comes from the atelier of Wolf of Landshut, who for many years 
(say 1540-1554) executed orders for the Court of Spain. Probably 
the most costly single piece of armor now exhibited is a pear- 
shaped helmet, or cabasset (No. 396), dating from the end of the 
Sixteenth century or the beginning of the Seventeenth, which is 
enriched by gilded bands on which appear finely sculptured orna- 
ments. Its execution is singularly delicate and skilful, and must 
have cost infinite pains. That it was intended for a great personage 
there can be no doubt. We do not know its maker, though one may 
assign it provisionally to a member of a Munich family of ciseleurs, 
Sadeler. 

Many of the arms of the present collection may be referred to 
well-known artists. Especially is this true of the swords, which 
during the Sixteenth and Seventeenth centuries were prized to an 
extraordinary degree — when even simple blades made by famous 
makers were reckoned among princely gifts. We have here examples 
bearing the names of artists of Toledo, who were then world- 
renowned, such as Thomaso de Aiala (No. 230), who was sword 
maker to Philip II, or Julian del Rey, who signed the blade of a 
double-handed sword (No. 436) dating from the first half of the 
Sixteenth century. We have also examples of Italian sword-smiths 
whose fame was fxardly second to those of Spain, such as the Picinici 
of Milan (Nos. 82 and 224), or Andrea of Ferrara (No. 211), whose 
work was so widely and successfully copied in early times that we 
are not quite sure today which blades are genuine and which are 
false. The collection includes, too, many German blades, mainly 

^35 



THE CLEVELAND MUSEUM 

from Solingen, which for nearly a thousand years has maintained 
its reputation for swordsmiths. Among other names we here men- 
tion only three, Peter Wirsberg (No. 92), Johannes Wundes (No. 
102), and Clemens Horn (No. 440). The last named artist, who died 
about 1625, produced blades with elaborately etched and gilded 
ornament, and the present example of his workmanship ranks with 
the best of them all. 

The list of artist-gunsmiths of the collection is also quite an 
extended one. There are pistol barrels signed by Lazaro Lazarini 
and Lazarino Cominazzo (Nos. 260, 264, 269), the latter (died 
about 1696) the most famous of the Brescian arquebusiers, whose 
"shop" was visited by the greatest personages of his day, and from 
every part of Europe. We should mention also a gun with an elabor- 
ately chiselled barrel attributed to the Munich ciseleur Caspar 
Spat (No. 412). 

Historical objects have ever a peculiar interest. It may be 
noted, therefore, that the Macomber collection has in it not a few 
historical arms. Thus, looking over the list, we find a crossbow (No. 
277), which came from the Gewehrkammer of Augustus I of Sax- 
ony (i 553-1586), a double-handed sword from the state guard of 
Duke Julius of Brunswick (No. 78), the sword of General Fairfax 
(No. 211) — this from the Londesborough and the Sir Cuthbert 
Sharpe collections, and halberds from the state guards of a number 
of rulers, e. g. Saxon, Brunswick, Salzburg. Also an etched and 
gilded casque of the state guard of Christian I of Saxony (1585) 
(No. 146). 

It may be noted, finally, that many of our objects have an in- 
teresting pedigree — to be traced through the hands of various 
earlier and well-known collectors. The list of their names would 
include Meyrick, Londesborough, Brett, Zachille, Hammer, Osuna, 
Magniac, Gurney, Spitzer, Bernal, de Cosson, Seymour Lucas, 
Hastings, Spiller, de Belleval, Fortuny, Thewalt, Gimbel, Hefner- 
Alteneck, Laking, Nieuwerkirke, and Raoul Richards. 

It has not been possible to represent in the present exhibition 
a series of oriental arms and armor for comparison with the speci- 
mens of the Occident. The former represent practically a class by 
themselves, some of them admirable in material and workmanship, 
but most of them developed on lines which are quite distinct from 
those of the west. Thus in European art "laminated" steel rarely 
occurs save perhaps in some of the early blades of swords and dag- 
gers, and in certain modern arms. In the east, on the contrary, the 

236 



COURT OF TAPESTRIES AND ARMOR 

art of building up the metal in layers of various colors and hardness 
to constitute what is known as "Damascus steel" was carried on 
actively for over a thousand years, not for blades merely but for 
armor. This kind of steel, we may note, occupies an especial niche 
in the east and one can to-day hardly understand the mental atti- 
tude, almost veneration, of an Indian or of a Japanese noble to- 
wards a mere piece of metal, e. g. an ancient sword blade, and not 
an historical one at that. In this arm the value depends, obviously, 
less upon the beauty of its "watered" surface than upon its un- 
rivalled hardness and tenacity. In a word, the east retains a 
mediaeval appreciation for arms — and armor — which sometimes 
shows itself in a way quite disconcerting to the European collector 
— as when "natives" outbid his western prices magnificently. For 
this reason few of the best of these arms seem to have found their 
way into western collections. 

For the present exhibition we are able to show (Japanese Room) 
several Japanese sword blades which may fairly be taken to repre- 
sent the supreme type of oriental workmanship in steel. These have 
been loaned by Professor Frederick Mailing Pedersen of the Col- 
lege of the City of New York. 

Bashford Dean. 

LE NAIN, Mathieu. 

Portrait of the Marquis de Cinq Mars. 
See Gallery VI. Painters. French. No 15. 

VAN DYCK, Sir Anthony. 

Portrait of the Earle of Kennoul, 

See Gallery VII. Painters. English. No. 32. 

BUST OF DR. DUDLEY P. ALLEN. 

Marble. By Edward Geisleman. 
Gift of Mrs. Dudley P. Allen. 



237 



GARDEN COURT 



1 BUST. 

Marble. Roman General. 

Gift of Mrs. Liberty E. Holden. 

2 BUST OF A MAN. 

Marble. 

Italian. XVI Century. 

Gift of Mrs. Liberty E. Holden. 

3 STATUE. 

Carved wood, with traces of color. 
Flemish. XVI Century. 
Lent by Mrs. Chauncey J. Blair. 

4 STATUETTE GROUP. 

Elijah and the Widow's Cruse. 
Flemish. XV Century. 
Lent by M. Henry Daguerre. 

5 DESCENT FROM THE CROSS. 

Carved wood, with traces of color. 
French. XIII Century. 
Lent by Mrs. Chauncey J. Blair. 

6 BUST. 

Wood carved, painted and gilt. St. Mark. 
Suabian. About 1 500-1 520. 
The John Huntington Collection. 

7 STATUE. 

Pietra Serena. Virgin and Child. 
Italian. XVI Century. 
Gift of Mrs. Liberty E. Holden. 

8 ST. GENEVIEVE BINDING IN CHAINS THE SPIRIT 
OF EVIL. 

Stone. 

School of Lorraine. XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

239 



THE CLEVELAND MUSEUM 

9 DOCTOR WITH A BOOK. 

Stone, colored. 

French. Late XV Century. 
Lent by Mrs. Chauncey j. Blair. 

loTWO FRAGMENTS OF GOTHIC STONE CROCK- 
ETS. 

Lent by Mrs. Chauncey J. Blair. 

11 COLUMN. 

Stone. From Rheims Cathedral. 
French. XIII Century. 
Lent by Mrs. Chauncey J. Blair. 

12 COLUMN. 

Stone. 

Lent by Mrs. Chauncey J. Blair. 

13 COLUMN. 

Stone. 

Lent by Mrs. Chauncey J. Blair. 

14 COLUMN. 

Stone. 

Lent by Mrs. Chauncey J. Blair. 

15 COLUMN. 

Stone. 

Lent by Mrs. Chauncey J. Blair. 

16 VIRGIN AND CHILD WITH BASE. 

Stone. 

Late XIII or early XIV Century. 
Lent by Mrs. Chauncey J. Blair. 

17 ST. PETER MARTYR. 

Marble. 

Late XV Century. 

Lent by Mrs. Chauncey J. Blair. 

18 BALCONY. 

Wrought iron. With two waterspouts and two stone 
brackets. 

Itahan. XVIII Century. 

Purchased from the Dudley P. Allen fund. 

240 



GARDEN COURT 

19 PAIR OF CANDLE BRACKETS. 

Wrought iron. 

Italian. XVIII Century. 

Purchased from the Dudley P. Allen fund. 

20 LION. 

Wrought iron. Gilt. Probably part of a sign. 
XVII Century. 
Purchased from the Dudley P. Allen fund. 

21 BALUSTRADE OF A STAIRCASE. 

Italian. XVIII Century. 

Purchased from the Dudley P. Allen fund. 

22 STATUE. 

Saint [?] with a Book. 
German. XVI Century. 

Lent by M. Henry Daguerre. 

23 VIRGIN AND CHILD. 

Marble. Colored and gilt. 
Spanish. XVI Century. 
Lent by Mrs. Chauncey J. Blair. 

24 ST. PETER AS POPE. 

Stone. Colored. 
XV Century. 
Lent by M. Henry Daguerre. 

25 DOORWAY. 

Stone. From the Palazzo Ducale at Urbino. 
Italian. XVI Century. 
The John Huntington Collection. 

26 MARBLE CAPITALS AND BASE. 

Gothic. 

Lent by Mr. Dikran G. Kelekian. 

27 LANTERN. 

Wood. Carved and gilt. 
Italian. XVI Century. 
The John Huntington Collection. 

241 



THE CLEVELAND MUSEUM 

28 MEDALLION. 

Marble. Sigismondo Pandolfo Malatesta. 1417-1495. 
This and the three following are from a stairway in the 
ruined castle of the Malatesta at Rimini. 

Ascribed to Sperandio 1425-1495. 

Lent by Sig. A. Canessa. 

29 MEDALLION. 

Marble. La Bella Isotta degli Atti. 
Ascribed to Sperandio 1425-1495, 
Lent by Sig. A. Canessa. 

30 MEDALLION. 

Marble. Lionello d'Este. 

Ascribed to Sperandio 1425-1495. 
Lent by Sig. A. Canessa. 

31 MEDALLION. 

Marble. Beatrice d'Este. 

Ascribed to Sperandio 1425- 1495. 
Lent by Sig. A. Canessa. 

32 WELL-CURB. 

Stone. From Casa Barozzi, Venice. 
Probably Syrian. 
Lent by Messrs. P. W. French and Company. 

FOUR COLUMNS. 

Granite with marble capitals and bases. From the Tor- 
Ionia Palace, Rome, carry the loggia. 
Italian Renaissance. 



In the Print Room on the Ground Floor will be found a selec- 
tion from the Collection of Textiles and Embroideries, the Gift of 
Mr. and Mrs. J. H. Wade, which will be changed from time to 
time during the duration of this exhibition. 

In the Educational Section on the Ground Floor there will be 
an Exhibition of Art Work done in the Public Schools of Cleveland, 
under the direction of Miss Fliedner, Supervisor of Drawing. 

In the Library there will be an Exhibition of City Planning and 
Landscape Gardening, arranged by the Local Committee for the 
Conference on City Planning held in Cleveland. 

242 



ILLUSTRATIONS 




MARBLE FRAGMENT OF SCULPTURE 

ROTUNDA. CLASSIC ART. No. 4 



24s 




ay 

u . 



246 




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IMJ 


^^1^^^ 




^ ^|B 




fl 




^ 


23 




TERRA COTTA FIGURINES 

ROTUXDA. CLASSIC ART. Nos. 6-7-S-9 



247 




MARBLK HEAD UV APHRODITE 

KOTUNDA. CLASSIC ART. No. i; 



24S 




MARBLE CIPPUS OR BURIAL URN 

ROTUNDA. CLASSIC ART. No. 47 



249 




PORTRAIT OF MRS. ABIGAIL BLOOMFIELD ROGERS. J. S. COPLEV 

GALLERY I, COLONIAL ART. No. 119 



'■'io 




PORTRAIT OF MRS. JOHN GREENE. J. S. COPLEY 

GALLERY I. COLONIAL ART. No. Iiy 



251 




PORTRAIT OF f.AI'TAlN JEAN r. DA\TI1. 

GALLERY 1. COLONIAL ART. \o. 



THOMAS SIT.I.V 
I5'> 




PORTRAIT OF MRS. MARY SICARD DAVID. THOMAS SULLY 

GALLERY I. COLONIAL ART. No. 157 



^S3 



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J-. < 






ui2 






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— < 



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PORTRAIT OF NATHANIEL HURD. J. S. COPLEY 

GALLKRV I. COLOMAL AKI'. No. llS 



^55 




STATUE. A VOUNG GIRL 
GALLERV n. GOTHIC ART. No. j 



256 




STATUE. ST. SEBASTIAN 
GALLERY 11. GOTHIC ART, No. S 



257 







2^8 




STATUE. VIRGIN AND CHILD 
GOTHIC ART. No. l6. IN GARDEN COURT 



^59 




i6o 




WOODEN DOOR AND FRAME 
GALLERY II. GOTHIC ART. No. 41 



261 




STATUES 
GALLERY 11. GOTHIC ART. Nos. 29 TO J7 

262 




STATUE. VIRGIN AND CHILD 
GALLERY II. GOTHIC ART. No. 24 

263 



/^;)^ 




STATli:. ST. MARTIN 
;,\i.i-i;ifi 11. (;c> run \in . \n. 41 



:64 




STATUl- BY GIOVANNI DELLA ROBBIA 

GALLKRV III. ItKNAISSANCK ART. No. J9 



165 




BAS RELIEF BY ROSSELLINO 
GALLEKV 111. RKNAISSANCH AR 1. No 



266 




BAS RELIEF BY DELLA ROBBIA 

GALLERY HI. RENAISSANCE ART. No. 12 



267 




O ^ 
■J-. 



i68 




TABERNACLE. MARBLE. ITALIAN 
GALLERY III. RENAISSANCE ART. No. S 



269 




o < 



5 >■ 



270 




LECTERN. ITALIAN 
GALLERY III. RENAISSANCE ART. No. il 



271 




WROUGHT IRON BKDSTKAIX ll'Al.lAN 

GAl.l.hKV ill. KKNAlsa.WCK AK 1 . \... 4 




WROUGHT IRON BALCONY. ITALIAN 

RKNAIi-iAN'CK ART. Nii. iS. IN GARDUN COUR T 



173 




WROUGHT IRON STAIR RAIL. ITALIAN 

RKNAISSANCK AKT. No. zl. 1\ (;AKI)K\ COURT 



174 




MADONNA ADORING THE CHILD. ALESSIO BALDOVINETTI 

GALLERY IV. THE HOLDEN COLLECTION. No, 2 



275 








VIRGIN AND CHILD. FRANCESCO BOTTICINI 
GALLERY IV. THE HOLDEN COLLECTION. No. 6 



276 







TO j yu i i i i i'gmi III ~ *iiminM m „ai s t il l r*— ^ " »- M iMt ot iMji i i| i fflii|rj!l!i|;y 




MADONNA AND CHILD WITH THE TEMPTATION OF EVE 
ITALIAN SCHOOL. LATE XIV CENTURY 
GALLERY IV. THE HOLDEN COLLECTION. No. l6 



^77 




278 




279 







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^^^j^S 




^ 





VIRGIN AND CHILD. LIONARDO DA VINCI 

GALLERY IV. THE HOLDEN COLLECTION. No. 44 



280 




PORTRAIT OF ELEANOR OF AUSTRIA. JEAN GOSSAERT called MABUSE 

GALLERY V. DUTCH AND SPANISH PAINTINGS. No, 12 



281 




PORTRAIT OF WILHELM VAN HEYTHUYSEN. FRANS HALS 

GALLERY V. DUTCH AND SPANISH PAINTINGS. No. 7 



282 




MAN WITH A WINE GLASS. VELASgUEZ 

GALLERY V. DUTCH AND SPANISH PAINTINGS, No. 24 



283 




< 

a: " 



284 




X 6 



285 




THE TIRED GLEANER. JULES ADOLPHE BRETON 
GALLERY VI. FRENCH PAINTINGS. No. 5 

286 




THE SEATED SPINNER. JEAN FRANCOIS MILLET 
GALLERY VI. FRENCH PAINTINGS. No. iS 



287 




PORTRAIT OF SIR WILLIAM NAPIER. SIR HENRV RAEBLRN, 
CALLERV VII. ENGLISH PAINTINGS. No. ;i 



R.A. 




PORTRAIT OF LADY FERRERS. THOMAS GAINSBOROUGH, R.A. 

GALLERY VII. ENGLISH PAINTINGS. No. 5 



289 




PORTRAIT OF HIMSELF BV SIR JOSHL'A REYNOLDS, I'.R.A. 

(;ALLKRV VII. KNGLISH PAINTINGS, No. 25 



290 




PORTRAIT OF OUEEN HENRIETTA MARIA. SIR ANTHONY VAN DYCK 
GALLERY' VII. ENGLISH PAINTINGS. No. jl 



291 




292 




293 




THREE PAINTINGS BV WINSLOW HOMER, \,A. 
GALLERY \ 111. AMERICAN HAINTINGS. Nos. 17, 16, i> 



194 




THE WHITE GIRL. JAMES McNEILL WHISTLER 

GALLERY VIU. AMERICAN PAINTINGS. No. 40 




DEMON OR GUARDIAN 

GALLERY X. THK FRHKR COLLKCTION. No. ij. ROCK CARVINC;. WKI DVNASTV 
296 




SEATED BODHISATTVA. T'ANG DYNASTY 
GALLERY X. THE FREER COLLECTION. No. 7 



297 




Z z 

D . 

oa z 

3 £ 

X H 

cn LI 



z t- 



E >■ 



< 



298 





o 




h 




d; 








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D. 


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299 







< X 



300 




PAIR OF SCREENS. LANDSCAPE. TOSA SCHOOL 
GALLERY X. THE FREER COLLECTION. Nos. lo, il 



301 




:;o2 




o 

o ■? 

S " 

3 - 

-> s 

D z 

< . 



h s 



303 




304 




< . 



Z o 

< 



305 




wm' 




^06 




m^ 




307 




'O < 
2- 



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a: - 







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■ir^'^ 




CASE OF PERSIAN POTTERY 
GALLERY XII. ART OF THE NEARER EAST 



309 




INDIAN MOGUL MINIATURE. THE EMPEROR SHAH JEHAN 
CiALLERV XII. ART OF THE NEARER EAST. Nu. 74 



310 




PERSIAN MINIATURE. SHAH TAHMASP I 
GALLERY XII. ART OF THE NEARER EAST. No. 69 



311 




a: a 

—1 z 



S^ 



:i2 







SILK BROCADE. PERSIAN. XVI CENTURY 
GALLERY XII. ART OF THE NEARER EAST. No. 104 



313 



-^.•»->'j?j». 



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ORIENTAL JEWELRY, MOSTLY INDIAN 
GALLERY XIL ART OF THE NEARER EAST 



:i4 




MARBLE STATUE. KWANYIN. T'ANG DYNASTY 
GALLERY XIII. CHINESE ART. No. jz 



3^5 




MARBLE STATUE OF THE BUDDHA. T'ANG DYNASTY 
GALLERY XML CHINESE ART. No. ij 



316 




STONE HEAD OF A BODHISATTVA. T'ANG DYNASTY 

GALLERY XIII. CHINESE ART. No. 41 



317 




MARBLE. LOTUS THRONE. T'ANG DYNASTY 

GALLERY XIIL CHINESE ART. No. 117 



318 




BROXZE TIGER-HEADED MONSTER. T'ANG DYNASTY 

JADE BOWL. K'ANG HSI 

GALLERY XUl. CHINESE ART. Nos. Ijl and 127 




IRON CLASPS INLAID WITH GOLD AND SILVER. T'ANG DVNASrV 
^,ALI,hK^ Xlll. CHlNEbE ART. Nos. Ij7-i4i 



320 




IRON BUCKLES INLAID WITH GOLD AND SILVER 

MEROVINGIAN. ABOUT VI CENTURY 

GALLERY XIII. CHINESE ART. Nos. 144-149 



321 




a: - 

a: 'x 






322 




3^3 







CASE OF POTTERY. SUNG AND YUAN D\'NAST1LS 

(JALLKKV Xlll. tHlNKSK ART. 



.>^4 




TIBETAN JEWELRY 
GALLERY XIII. CHINESE ART. Nos. 157, 158, 159, lOo, 167, 16S 



3^S 




326 




STATUE. KWANNON. TEMPYO PERIOD 

GALLERY XIV. JAPANESE ART. No. I 



527 




STATUE. YAKUSHI. TOKUGAWA PERIOD 
GALLERY XIV. JAB'ANKSE ART. No. 7 

3^8 




HEAD OF A BOSATSU. ASCRIBED TO TEMPYO PERIOD 
GALLERY XIV. JAPANESE ART. No. iS 



3^9 




b < 



7. ; 



'J 3 
z < 

r- o 



330 




BRONZE MIRROR. FUJIWARA PERIOD 
GALLERY XIV. JAPANESE ART. No. 24 



33^ 




33^ 




STATUE. AMIDA. THE BUDDHA. TOKUGAWA PERIOD 
JAPANESE ART. No. 27 IN SPAULDING GALLERY (No. XI) 

333 




GRANITE HEAD OF A ROYAL PERSONAGE 

GALLERY XV. ANCIENT EGYPTIAN ART. No. 1 



334 




GRANITE HEAD OF A LION 

GALLERY XV. ANCIENT EGYPTIAN ART. No, 44 



335 




GRANITE HEAD OF A ROVAL PERSONAGE 

GALLERY .XV. ANCl ENT EG V PTI AN ART. No. S2 



336 




WOODEN FIGURE OF PTAH-SEKER-AUSAR 
GALLERY XV. ANCIENT EGVPTIAN ART. No. 90 



337 




MASK OF A MUMMY 

GALLERY XV. ANCIEN 1 EGYPTIAN ART. Nu. Il^J 



338 




CASE OF VESSELS AND SCULPTURE IN HARD STONES 

GALLERY XV. ANCIENT EGYPTIAN ART 



339 




CASE OF FUNERARY OBJECTS IN WOOD, BRON/.K, ETC. 

(.ALLKKV XV. ANCIhNl K(; ^ I'll A N ARI 



340 




CASE OF POTTERY. PREDYNASTIC TO ROMAN PERIODS 

GALLERY XV. ANCIENT EGYPTIAN ART 



341 




THl. 1)1 ILI.V P. ALLEN TAl'tSTRlliS No. 
34^ 




343 




THE DUDLEY P. ALLEN TAPESTRIES No. 3 

344 




345 




THE DUDLEY P. ALLEN TAPESTRIES No. 5 



346 




THE DUDLEY P. ALLEN TAPESTRIES No. 6 



347 




THE DUDLEY 1'. ALLEN TAPESTRIES No. 7 



348 




THE DUDLEY P. ALLEN TAPESTRIES No. 8 



349 




SUIT OF ARMOR ABOUT 1480 

THE SEVERANCE COLLECTION OK ARMOR. No. 4«i 



350 




SUIT OF ARMOR "MAXIMILIAN" TYPE. EARLY XVI CENTURY 
THE SEVERANCE COLLECTION OF ARMOR 



351 




o - 



z y 



2,^^ 




A FLINT LOCK PISTOL. FRENCH. ABOUT 1740 

A MAIN-GAUCHE DAGGER. SPANISH ABOUT 1625 

THE SEVERANCE COLLECTION OF ARMOR, Nos. 261, 427 

353 




^ "/? J 

SO? 

•I; OJ ai 

a: CO ;j 

— > i 

il Q > 

z < S 

— U. X 

a; O i- 






354 




BREAST PLATE. LATE XV CENTURY 

THE SEVERANCE COLLECTION OF ARMOR. No. 449 



355 




ARMET. ITALIAN. LATE XV CENTL'RV 

I'HK SEVHRANl. K LOI.l. I- CI I cl\ OK AKMOR. No. 51 



•356 




CABASSET. ITALIAN. X\'I CENTURY 

THE SEVERANCE COLLECTION OF ARMOR. No. ;i/i 



■357 




RONDAt'HE B^■ SI'AfCIVI, ABOIT m,o 

1 HK SEVKRANCK COl-M-.C I in \ OK ARMOR. \o ij- 



358 




RONDACHE. PROBABLY BY Pl'.TER VON SI'EYER. XVI CENTURY 

THE SEVERANCE COLLECTION OF ARMOR. No. 507 



359 




DEMI-CHANKRON". Al'CSBl RG iq6? 
PR<)BABL^■ MADE FOR PHILIP II OF SPAIN BY WOLF OF LANDSHl'T 

THE SEVERANCE LOLI.ECTION OF ARMOR. No. i j( 



360 



HK227-78 



LIBRAR 





CONGRESS m<-ili;'fr!!l'' 






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